Archive for January 4th, 2017


By J.D. Lafrance

By 1985, William Friedkin had effectively burned all of his bridges in Hollywood with a succession of underperformers that included Sorcerer (1977), Cruising (1980), and Deal of the Century (1983). With nothing left to lose, he returned back to the kind of film that made his reputation: a gritty, police procedural like The French Connection (1974). He made To Live and Die in L.A. (1985), the west coast answer to The French Connection and a slick, stylish nihilistic thriller that immersed itself in the world of counterfeiting. Made at the same time as Miami Vice was becoming a cultural phenomenon on television, Friedkin’s film is the best Michael Mann film not made by Mann. Like his films, To Live and Die in L.A. is obsessed with the lives and careers of elite cops and criminals. It takes a fascinating look at the minutia of how the cops go about catching crooks and how the crooks ply their trade with both sides employing ruthless methods.

Audiences in 1985 weren’t ready for Friedkin’s world of unsympathetic protagonists and even nastier antagonists. When it was released in theaters, the film failed to connect with a mainstream audience that was repulsed by its amoral, unlikable characters and downbeat, nihilistic ending. What did people expect from the same man who brought them the equally uncompromising The French Connection? Despite equally uncompromising films like King of New York (1990) and television shows like The Shield, To Live and Die in L.A. is still something of a freakish anomaly, one that its director has yet to equal.

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