To Live and Die in L.A.

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.

Despite a confusing (or irrelevant?) opening segment, To Live and Die in L.A. is an authentic and somewhat disturbing crime film. In fact, some of the film is so harrowing and caustic it evokes almost horror-like inspiration. As you might have heard by now, it involves one of the finest car chase scenes ever put to film.

The film follows a couple of Secret Service agents for the National Treasury as they try to track down a counterfeiter. As the movie rolls on, it becomes clear that these agents are pretty shady in the way they gleam information and that the ties between crime and justice are actually quite close. I know, it sounds like an obvious plot, but the editing, pacing, characters and twists are all pretty unexpected or original. It is not nearly as cliché as it sounds.

The downsides to the movie could be some of the aesthetic choices: the neon colors are sweet (I think) but some of the soundtrack is just too grating. You REALLY feel like you're hopped up on speed after hearing the main theme for too long. It's done by Wang Chung, but I think Tangerine Dream would've created something much more provocative. Oh well. Also, I felt like one or two characters' stories were not really concluded properly. There was a minor hang-nail or two left at the end.

But all in all, this is a solid film. Very inspired, very dark, simultaneously exciting and depressing. Seriously, this movie is way more intensely real than anything Tarantino has tried to do. It may not actually be more violent per say, but the violence itself it much more effective and the social ties are far more believable. This junk is scary.

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.

When Friedkin went "back on the streets" in 1985 to make TO LIVE AND DIE IN L.A., he made a classic that will endure and that perfectly captures its 80's milieu.

I don't understand these idiots who complain how a film is "dated" by its music. Of course a film is "dated" by its specific elements, but so what. This superb film, which has an amazingly kinetic Wang Cheung score, is about a time (the mid-eighties) and place (L.A.) that is now history, and it is a punishing document.

The film works on many levels. Yes, it is about counterfeiting and superficial (re: counterfeit) relationships. It is about greed, survival, justice and morality. It is also about human beings using and laying to waste other human beings.

These powerful ingredients weave their way through a police procedural/action thriller plot that never stops to catch its breath and is pure cinema.

Willem Dafoe is totally engrossing as the film's villain, while William Peterson delivers a highly focused, tough turn. Dean Stockwell is also a stand-out as a crook lawyer and real cop Jack Hoar is quietly spectacular as Dafoe's mule.

And the film boasts one unbelievable car chase that has not been equaled since.

But LIVE AND DIE is also a film that expertly marries the visual to the aural and depicts a part of Southern California that has not been so credibly depicted before.

Dynamite!

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.