Leben und sterben in L.A.

Admittedly, To Live and Die in L.A. was not well-received by many critics when it was released in 1985. I believe it was because the movie was ahead of its time. Back then, one would have naturally expected an action movie that clearly defines the difference between the good guys and the bad guys. But it would be different in this film.

Without giving too much away, the main cops who are supposedly good guys are unethical. Richard Chance makes it clear that he doesn't care how he would catch the money counterfeiter Rick Masters. But as he tries to attain this goal, he runs into trouble, including a car chase that leads to a drive down the wrong side of the Los Angeles freeway! (Don't ever try that stunt!)

The way I see it, To Live and Die in L.A. is an underrated classic.

Worthy of the director of "French Connection," the pace of this set- in-LA action thriller immediately draws the view in and never lets up. A car chase in the best traditions of "Bullitt" and of Friedkin's own "French Connection" is centers the action, but the motivation of a rogue agent obsessed with the death of his partner, and clearly with his own death, are well- and credibly- drawn. The most sympathetic character in the story is not one of the principals. It is a female informer. An ex-con at the mercy of those on both sides of the law, she is callously exploited by all. Her feelings for Agent Chance are more implied than explicit, but they are believable as is his indifference to her as a person. This riveting film never lets your attention wander. Thanks to Friedkin, we are told, we are given a credible ending to this taut, tightly- wound thriller. An under-exposed, under-appreciated work; excellent for the genre.

This brutal film about a dirty cop's personal vendetta in the Los Angeles underworld of counterfeiting, snitching and ruthless executions was both hailed and criticised at the time it came out - for being unforgivingly realistic and unforgivingly vile, respectively. And they were all right; the film paints a harrowing picture of a cold, cynical macho culture in Reagan era L. A. in which everything and nothing was justifiable and where the distinction between the good guys and bad guys had been almost completely obliterated.

William Friedkin (The Exorcist) adapted and directed the film seemingly with an intention of not making any compromises. The film is as violent as anything you'll see from this period, like a cross between Dirty Harry and Cobra, completely free of moral justification, heck even moral discussion. It's not immoral, it's completely amoral. And Friedkin's use of violence is not a tad poetic or beautiful (like Tarantino's for example), but not fun and simple either (like the violence in many other films from this period). Friedkin's violence is dejected, serving only to suck the joy out of us and the characters in the film. But still we want to keep watching, because the film has an exhilarating quality to it, created in large by its stance: You're free to root for whomever you want; or better still - not root for anyone.

To Live and Die in L. A. doesn't speak to your empathy or sense of right and wrong; it speaks to your gut. It's thrilling in much the same way as a roller-coaster. The film is marred by some of the typical mid-80s weaknesses, like a masturbation of its own action set-pieces and simplified supporting characters. But on the other hand, it has a rawness to it which is missing from many of today's action films. And the fine performances by the two leads does a lot to enhance this effect, particularly a young Willem Dafoe who personifies this said rawness. Look also for Dean Stockwell as a delightfully slimy lawyer.

Secret service agents Jimmy Hart and Richard Chance (William Petersen) thwart an Islamic terrorist during a Presidential visit. Hart has a few days left before retirement. He tries to investigate and gets killed by counterfeiter Eric Masters (Willem Dafoe). Chance vows to take him down. He gets John Vukovich (John Pankow) as his new partner. They catch Masters' delivery boy Carl Cody (John Turturro). Masters' lawyer Bob Grimes (Dean Stockwell) says Cody has to do 3 years. Chance's C.I. Ruth Lanier (Darlanne Fluegel) directs them to lawyer Max Waxman. Waxman was Cody's last stop and Masters suspects he set them up. Masters and his girlfriend Bianca Torres (Debra Feuer) go to demand repayment and ends up killing him. Chance steals Waxman's black book as he becomes more morally corrupt in order to take down Masters.

William Friedkin delivers a slick thriller of amoral cops and immoral everyone else. I love Dafoe's montage of counterfeiting. Friedkin delivers so many great action scenes. The wrong way car chase is the highlight and probably the height of his action work. It is so slick and so stylized that I accept the avant-garde artsy stuff. It fits into the movie. It also has an early bungee jump on film. This is one of the most fun 80s action thriller filled with relatively unknown actors at the time. I can't help but think of Michael Mann who was showrunning Miami Vice TV show at the time.

The fast paced, very 80's style of this movie is quite the contrast to the somber almost documentary mood of William Friedken's more famous crime film The French Connection. Yet what parallels in both these films is the authenticity and grittiness as well as an intense car chase. Its clear he was attempting at recreating if not outdoing the most famous scene in his career, and I won't say he did, but he certainly gives it a run for its money.

The film doesn't go far enough to be a genre breaker(a film that's just an all-around classic) but it pushes the limit on what a movie like this can be like, making To Live and Die in LA probably the most underrated crime movie of the decade.