by Allan Fish
(USA 1997 136m) DVD1/2
Paging Rollo Tomassi
p Arnon Milchan, Curtis Hanson, Michael Nathanson d Curtis Hanson w Curtis Hanson, Brian Helgeland novel James Ellroy ph Dante Spinotti ed Peter Honess m Jerry Goldsmith art Jeannine Oppewall cos Ruth Myers
Kevin Spacey (Sgt.Jack Vincennes), Guy Pearce (Lt.’Ed’ Exley), Russell Crowe (Off.Bud White), James Cromwell (Capt.Dudley Smith), Kim Basinger (Lynn Bracken), Danny de Vito (Sid Hudgens), David Strathairn (Pierce Patchett), Graham Beckel (Dick Stensland), Ron Rifkin (D.A.Ellis Loew), Matt McCoy (Brett Chase), Paul Guilfoyle (Mickey Cohen), Amber Smith (Susan Lefferts), Darrell Sandern (Buzz Meeks), Simon Baker Denny (Matt Reynolds), Shawnee Free Jones (Tammy Jordan), Tomas Arana (Breuning), Michael McCleery (Carlisle), Gwenda Dracon (Mrs Lefferts), Brenda Bakke (Lana Turner),
Of all the great films released in the nineties, few could have been greeted with such joyous surprise as LA Confidential. Firstly it was directed by someone who, up until that time, had seemed no more than a journeyman director and, secondly, it was a throwback to the old fashioned noirish dialogue and seedy atmosphere of the forties, with added modern censorables. Furthermore, if it still isn’t as complex or delicious as the novel on which it is based and the finale does slightly disappoint, it’s still a damn near magnificent achievement that also showcased new talents in front of the camera.
It’s Christmas in L.A. in 1952 when we meet three officers; one a by the books youngster with a prestigious father, the second an aggressive short fuse heavy with a hatred of woman beaters, the third a professional celebrity who once arrested Bob Mitchum and lives for his status as technical adviser on a Dragnet-like TV show. However, when a colleague of theirs is killed in a diner massacre, each comes to find evidence that leads to unexpected sources and corruption on high, but the three need to combine resources to find their man and get the justice they require.
This is a film that may possess period atmosphere by the bucket load, but it’s the characters that ring truest, each one individually defined in a way even the most hardcore of Ellroy fans couldn’t have expected. Ed Exley is a righteous but pragmatic individual who wants to see right done, not only justice but that some sort of justice is seen to be meted out. It may be Machiavellian in its essence, but it’s the nearest you’ll get to being an honest cop. Yet even he comes to realise that everything cannot be done the way of the book all the time, sometimes to get a bastard you have to be one. Bud White certainly knows this, but though seeming a thug he’s actually a very complex individual with mental weaknesses to balance his physical strengths. Then we have Vincennes, played by the one then-established star amongst the three, who is just a delicious paradox. For those unacquainted with the plot, his death comes as a surprise with nearly an hour to go, but he does have one of the all time great last lines, smiling into the darkness as he realises he’s said just what he needs to say to get revenge on his murderer.
What could have turned into a mere buddy-cop relationship is made, through intricate scripting, assured direction and outstanding performances into something much more interesting. These are real characters, not just cops from Badge of Honor. All three central performances are superb, with Pearce revelatory, Crowe ferociously visceral one minute and contemplative the next and Spacey just unforgettable, giving the sort of performance of which only he seems capable. Among the supports, Basinger does well with what is an underdeveloped part in the book and de Vito and Rifkin (the latter getting in practice for his delicious Arvin Sloane in TV’s Alias) offer telling turns as well. My only complaint would be Cromwell as Smith. He’s very good, but I would have loved to see Clint Eastwood in the role, effectively playing Harry Callahan a generation older. But maybe he would have imbalanced what is, as it stands, the best thriller made in Hollywood since Chinatown for which there’s no need to accentuate the positive. Never mind Badge of Honor, more like Badge of Dishonour.
Great review of one of the best films of the 1990’s, and one that deserved top honors over the same year’s TITANIC by a wide margin!
….now you’re taking greatness here. One of my favorite of all films…….
When it comes to the concern of police corruption, this is one of the greatest films of them all, but apart from that, as this review says when it credits the film for its extravagent period detail, there’s an eye-full here. I agree it’s one of the best films of the 1990’s.
I rather liked Cromwell–he was blood-curdling–but I guess I could see why you’d prefer Eastwood. The acting and the writing here was first-rate and I think it works great on repeat viewing.
This is one breathless and electrifying film. Not a flaw is detectable.
I can’t really disagree, David. Let’s face it, if it wasn’t nearly flawless I wouldn’t have written the review…:-)
I just love it.
A truly great film. Nuff said.
I must say I was in shock when this awesome film lost out to ‘Titanic’ for the Best Picture Academy Award.
I wasn’t in shock, I expected it, Frederick, didn’t mean that it wasn’t a laughable decision.