






 
|
 |
To Live and Die in L.A. (1985)
    
|
Director:
William
Friedkin |
COUNTRY
USA |
GENRE
Crime/Action |
NORWEGIAN TITLE
Brennpunkt L.A. |
RUNNING
TIME
116
minutes |
|
Producer:
Irving H. Levin
Bud S. Smith |
Screenwriter (based
by the novel by Gerald Petievich):
William
Friedkin
Gerald Petievich |
Review
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.
|
|