Review of L.A. Confidential (1997) by Alice . — 04 Mar 2012

Any easy entry into my top-five films of all time. Intelligent, atmospheric, fast-paced, tension-filled and consistently compelling, this film deserves a prominent spot amongst the best modern noir thrillers. With apologies to Titanic, which was definitely an accomplished piece of film-making in its own right (and clearly had broader appeal amongst the masses, at least at the time), this was arguably the movie *truly* deserving of the title of "Best Picture of 1997" (it did rightfully win the Oscar for Best Adapted Screenplay and believe me, if you've ever read the novel, you'll appreciate what the filmmakers were able to accomplish in adapting this story for the screen and you'll likely agree 100 percent with that Oscar win). L.A. Confidential is just about the best compromise that you can get between the hard-boiled classics of the 40's and 50's and the rougher-edged entries of the 90's. Moreover, this is one of an increasingly-rare number of films of which I can say that not a single scene is wasted. Whether it's fleshing out the intricacies of its labyrinthine plot or burrowing under the often-thick skins of its complex characters, this move maximizes every minute of it two plus-hour running time. Even the seemingly superfluous moments (such as the whole "Bloody Christmas" fiasco that occurs early on in the film, and its immediate aftermath) turn out to be invaluable in terms of the insight they provide into what makes these men and women (well, woman) tick. And there is more than enough here to offer just about anyone including a wonderfully-twisty plot line, plenty of tension and suspense, some crisply-staged action set-pieces (the standout of which is a big shootout near the end), a surprisingly tender romance and even some humor (most of which comes via Danny Devito's delightfully sleazy tabloid journalist). In many ways, this film provides a more complete movie-going experience than Titanic could ever hope to give.

The writing is brilliant and remains faithful to the overall essence, if perhaps not all the specifics, of the James Ellroy novel on which it's based while still developing an identity of its own (some of the more lurid and sensationalistic elements in the book are noticeably missing here but, for me at least, the movie is all the better for those omissions). Moreover, it refuses to make concessions to those who aren't willing to pay attention; there are several subplots, all of which are equally as well-developed as the main storyline even if it isn't immediately obvious how one story relates to the others and how it all fits into the big picture. At times, you may feel as though you need a scorecard to keep track of the characters and their relationships with one another but, at least for those who are up for the mental challenge, everything eventually gets tied together wonderfully in the end. This is one film that rewards thought rather than punishing those who use it. It's rare that a movie can both stimulate the mind and pump the adrenaline the way this one does.

The acting by the leads is impeccable; In particular, both Russell Crowe and Guy Pearce standout, not only for being two of three Australian actors (the third being a young Simon Baker in a small part) in this uniquely American tale, but also for their flawless performances. Crowe was no stranger to American films having already made appearances alongside such Hollywood heavy-hitters (at least at the time) as Bridget Fonda (Rough Magic), Sharon Stone (The Quick and the Dead) and Denzel Washington (Virtuosity) but this was the film that finally broke him through in this country and put him on the path to super-stardom (he would win the Oscar just three years later for his role in Gladiator). Witnessing, his performance here, it's not hard to see why. As the hot-tempered Officer Bud White, Crowe is successful not only in bringing his character's volatility to the fore but also in emphasizing his more tender, human qualities, especially once we come to understand the forces that drive him (his scenes with Kim Basinger radiate a surprising sweetness). Only Ray Liotta might have been able to do this role nearly as well.

Like Crowe, Pearce (who was probably best known at the time for his role as one of the cross dressers in 1994's Adventures of Priscilla, Queen of the Desert and would go on to international acclaim for his role in 2000's masterful Memento) is equally on-the-mark as Sergeant Edmund Exley, a young, idealistic, college-groomed cop who is torn between his thirst for power and position (he certainly has no qualms about throwing his fellow officers under the bus if it means getting a promotion) and his desire to do what's right. Initially, it may seem as though White and Exley are nothing alike (indeed they openly despise one another for most of the movie's running time) but ultimately, it turns out that Exley is driven by traumas not entirely dissimilar to what gnaws away at White and this is what provides the fuel for many of his actions during the course of the film. It's worth noting that both actors affect nearly flawless American accents, proving their dedication to their characters and to the needs of the film.

Finally, as the third leg of this tripod, Kevin Spacey proves that his Oscar-win for 1995's The Usual Suspects (another superior neo-noir effort) was no fluke (he would of course, go on to win another equally deserved trophy for his performance in 1999's Best Picture Winner, American Beauty). Spacey's Jack Vincennes, a cop who seems more interested in being a celebrity than being an actual officer (he's the "technical adviser" on a fictional cop TV show called "Badge of Honor", that seems to take its inspiration from shows like "Dragnet"), might seem like the most laid-back and morally ambivalent of the three leads but circumstances gradually force him to re-evaluate his priorities, both as a policeman and as a person in general. Spacey's performance allows us to accept this character's transformation.

Of course, as the movie progresses, it becomes more apparent that these men compliment each other nicely in spite of -- or perhaps, because of -- their differences. Indeed, watching how these three slowly come together and bring their individual talents to bear on the case is one of the movie's highlights and part of that thrill is because the actors play their roles with such passion and vigor. The supporting cast is also very good including James Cromwell (as a police captain), David Strathairn (as a suave, high class pimp), Basinger (a surprisingly-good, Oscar-winning performance as one of his prostitutes who becomes romantically linked to White) and the aforementioned Danny Devito. From top to bottom, there isn't a weak link in the cast and no obvious cases of miscasting. It sucks that they don't hand out Oscars for ensemble acting because this film makes a convincing case for such an award.

The direction by Curtis Hanson is equally astounding. The pacing is taut and crisp despite all of the ground that has to be covered and sense of time and place is nothing short of perfect. This is Los Angeles as many would imagine it to be during the 1950's and even if it's not realistic (tough to say, since I wasn't around at all during that time), it works quite well within the scope of the film. Simply put, this is a true masterpiece - a phenomenal cinematic achievement that never ceases to amaze even after dozens of viewings and definitely doesn't deserve to be kept on the "hush-hush.".