L.A. Confidential
Chad'z rating: ***1/2 (out of 4 = very good)
1997, R, 136 minutes [2 hours, 16 minutes]
[mystery]
starring: Russell Crowe (Sgt. Bud White), Guy Pearce (Lt. Ed Exley), Kevin Spacey (Det. Jack Vincennes), James Cromwell (Cpt. Dudley Smith); written by Curtis Hanson, Brian Helgeland; produced by Curtis Hanson, Arnon Milchan, Michael G. Nathanson; directed by Curtis Hanson; based on the novel by James Ellroy.
Seen by myself at the Glenwood Movieplex Cinemas in Oneida, NY at 7 p.m., Oct. 7, 1997 for free (free pass).
There's nothing more satisfying than a good, old-fashioned mystery story done right. The last few years have seen a slew of Hollywood thrillers that are nice to look at, but don't always stimulate your mind because of their confusing storylines and plots. "L.A. Confidential" may be just as complex and confusing as other mass-market thrillers, but what makes this film superior is the sense of depth it has to all its elements.
All filmmakers should know that a hierarchy exists in storytelling. The most general elements must be defined in order for specifics (i.e. plot detail, characterization, etc.) to work. This film starts off well by defining its setting - early 1950s Los Angeles. As Sid Hudgeons (Danny DeVito), the editor for a Hollywood tabloid, narrates, we get a real sense of the time and location, where Hollywood is booming but so is organized crime. This might seem like a cliche setup, but the storytelling is very intriguing and authentic.
The story focuses on the men of the L.A.P.D. and their struggle to fight crime as individuals, but not necessarily as a team. Why there's such a division in the force we don't know, but it's almost irrelevant because of the great characterization and how it works with the plot.
First there's Sgt. Bud White (Crowe), a Dirty Harry-like cop who doesn't play by the rules, but is likable. There's also Lt. Ed Exley (Pearce), who looks and acts like Clark Kent, and it's no surprise he's the only cop that believes in following procedure. Then there's Det. Jack Vincennes (Spacey), a primma dona who serves as a technical advisor to a "Dragnet"-like TV show and only likes to handle cases which give him publicity. Finally there's the old Irish captain, Dudley Smith (Cromwell), who has that stern, wise look and runs his force with cold authority. All four deliver powerful performances, especially considering how different the characters are, and still manage to keep everything in synch.
An incident involving a jailhouse rumble between the cops and inmates causes the division among the precinct to split further. And just when it seems like the force will tear itself apart, a multiple homicide involving a recently discharged officer brings everyone together in their efforts to solve the case. From this point on, the film becomes a fascinating, multi-layered mystery and still manages to be a gripping drama between a handful of characters.
It would be difficult to explain the numerous, overlapping storylines that occur throughout the picture. In fact, I couldn't follow all of them, yet I was never frustrated at the confusion. It is the way in which the characters go about solving the case that is so interesting. Here we get actual, manual detective work which is fascinating. You don't see these kind of details in modern police films because everything is done by computer. These characters are sympathetic, and as they try to put pieces together, it's as if we're their invisible partners. One step leads to another and just as the case is solved (or seems to be solved), it's broken wide open.
It's clear the film was based on a novel, but the screenplay adaptation doesn't have the rigid storytelling a film based on such a complex novel would usually have. Most Hollywood screenwriters just drop in random clues, facts, and details, but here you can tell the writers have kept everything relative. There are so many shortcuts the film could have taken, but it never does and that's why it works so well.
The only problem with the film is that it becomes slightly melodramatic regarding the character's personal lives. I also feel there's too many double crosses, but they do keep with the story. The ending is probably more violent than necessary but it does give a sense of justice.
I'm not usually a fan of complicated movies, but "L.A. Confidential" has such a great sense of charm you can't help but get caught up in the excitement and mystery of it all. The ending is certainly surprising, but it makes complete sense and proves how intelligent the film is. It's nice to watch a movie without feeling as if you're being talked down to.
Please visit Chad'z Movie Page @ http://members.aol.com/ChadPolenz - over 160 new and old films reviewed in depth, not just blind ratings and quick capsules. Also, check out The FIRST Shay Astar Web Page @ http://members.aol.com/ChadPolenz.
e-mail: ChadPolenz@aol.com (C) 1997 Chad Polenz
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