L.A. Confidential
Noir in color? Yes, it's a return to that good old time we've
been missing so much (even if we didn't know it) since the
days when Mildred Pierce was cool and fierce and fooled us
all. (It is Lana Turner?) It's the 50's in L.A., that town where
you can't tell the winners from the losers, and this time it's Kim
Basinger as a Veronica Lake clone who keeps the boys
sizzling along a tumble of twists and turns without giving them
much chance to cool their heels. She's got it all to give and
she gives it all too well. Corruption, intrigue, betrayal, and
passion; what d'ya expect when you're two feet away from
Hollywood's door?
Jack Vincennes (Kevin Spacey) is the kind of cop every good
boy wanted to be like until he grew up. He's been around and
he's seen it all, from sleazy tabloid journalists like Sid
Hudgens (Danny DeVito) to babes who don't know when to
say no, like Lynn Bracken (Kim Basinger). It's a low down,
dirty world on the coast, but it's one you gotta' take as it
comes, even if the earth begins to shake under your feet.
Jack's been moonlighting as a technical advisor for a TV soap
and gotten to like the taste of the limelight himself. Of course,
a cop with star allures needs all the publicity he can get so he
starts to set up the patsies and do the vice busts on show-biz
personalities, all in a sweet and lucrative arrangement with his
new buddy Sid who turns up conveniently on location to slide
in easy and take a couple of newsworthy shots of the hot-
shots, naturally including Jack as the man of the hour. Yes,
Jack seems to have cornered the market on shining blue. In
fact, everyone on the fringe of the star-studded boulevard
seems to showing a sparkling facade that cleverly covers
damaged goods.
Jack gets involved with a murder investigation that takes him,
as well as fellow detectives Exley and White, into the
dangerous and enigmatic world behind the scenes. Ed Exley
(Guy Pearce) is a new face on the force whose ambition will
let nothing stand in the way of advancement and his fellow
officers despise him for it. Bud White (Russell Crowe), on
the other hand, is the kind of cop who won't think twice about
shooting a criminal quicker than you can shake a revolver if
there's the slightest chance the bad guy might get away with
his dastardly deed. Bud winds up, this time around, in even
more dangerous territory than he is normally used to. During
the pending investigation, both of them start to fall for Lynn
Bracken's special charms. She turns out to be a girl full of
surprises.
Director Curtis Hanson says of the celebrated James Ellroy
novel that served as a basis for the scenario, "To me, his is
the quintessential voice of L.A.: knowing, tortured, twisted,
optimistic, and funny." The film he's managed to make out of it
includes all those qualities. Not an easy task, to say the least,
when dealing with such an intricate piece of work and much of
the resulting strength in the film is due to screenwriter Brian
Helgeland's masterful adaptation (Happily brought to an
interesting conclusion, considering that the same writer has
previously given us both the boringly convoluted "Conspiracy
Theory" as well as the boringly boring "The Postman".) Ellroy
himself concedes that "The book is extraordinarily dense and
complexly structured; the screenplay weaves together most of
the plot elements with remarkable concision."
The script is superb; the direction is superb; Dante Spinotti's
photography is superb; the cast is superb; Jeannine
Oppewal's production design is superb; Ruth Myers' costume
designs are superb; Peter Honess' editing is superb; in short,
it's superb. Did I forget any superlatives?
A MUST SEE.
© 1994-2006 The Green Hartnett
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