To Live and Die in L.a. (1985)
Director: William Friedkin
Starring: William Petersen, Willem Dafoe, John Pankow, Debra Feuer
Primary genre: Neo noir
Secondary genre: Crime
Third genre: Thriller
Three (almost) Williams (William Petersen, Willem Dafoe and William Friedkin of “The Exorcist” (1973)) collaborate to bring forth a neo noir crime thriller that must have really shook Hollywood’s landscape of clean and cut action heroes when it was released. Gone is the law enforcement personnel playing by the rules and supported by a caring family or partner to anchor them to a set of moral values. Friedkin’s take on a crime infested L.A. shows no mercy making sure this is not your mother’s friendly motion picture where good guys win and bad guys lose.
“Buddy you’re in the wrong place at the wrong time!”
When the heroes are no different than the crooks what do you have? Real life consequences and Friedkin who co-wrote the script takes a deep dive in vigilantism amidst the slick cinematography of Robby Muller and the remarkably funky soundtrack of Wang Chung (out of all people!). Petersen’s relationship with an informant on parole will cause the wrath of the second feminist wave for sure, but then again to deny the lengths that such morally bankrupt men will go is to deny reality. Unapologetic in its presentation, Friedkin’s script does not portray heroically secret service agents pushing the boundaries of grey characterization with bad decisions infecting future outcomes. Whether you are a crook or a cop, Friedkin suggests it matters not. This is after all a renowned filmmaker searching for discomfort (“Cruising” (1980)) and championing authenticity above everything else.
Moving at an exhilarating pace, this thrilling tale of counterfeit money benefits from strong performances, particularly from Dafoe’s rather enigmatic (and psychotic) crook, Rick Masters who imbues his character with very specific traits and quirks (“You’re beautiful”), especially in his long term relationship with a beautiful dancer who seems to appreciate his violent tendencies. Petersen follows suit as the reckless secret service agent who will stop at nothing to get his nemesis behind bars both sharing an interesting moral dynamic that sorely lacks in vehicles of this caliber.
Shot impeccably and featuring a stellar car chase which only a master like Friedkin can pull off, the film incorporates sophisticated elements of the L.A. art scene tastefully giving the “To Live and Die in L.A.” a niche visual and pop edge. Its most surprise element though is its bizarre decorative eroticism and homoerotic undertones - quips, and (unnecessary) close ups further enhance this elusive sentiment that perpetuates the proceedings. For such a mainstream flick back in the day, it is a remarkable and bold feat. Unapologetic in its nudity depiction (both male and female), viewers can interpret several scenes through various lens whether they are machoistic or LBG oriented offering various takes on the character roles if they were occurring within a more sexual oriented framework.
Boasting brutal violence, a gritty sensibility and stripped away from flashy explosions and large body counts, it is hard to deny Friendkin’s appealing cynicism and subtle stoicism in “To Live and Die in L.A.” transforming it into a unique entry in the genre in a rather heavily censored cinematic era. At the end, people might ask why bother to subject themselves to something so unlikeable instead of a traditionally good time at the movies? Because it mirrors real life, that’s why.
Friedkin’s neo noir masterpiece
+Robby Muller’s cinematography
+Great 80s score
+Crime ridden LA
+Complex characters
+Friedkin’s direction
+Dafoe, Petersen
+Unapologetically nihilistic
-Unapologetically nihilistic