X
- 1985
- R
- MGM/UA Distribution Company
- 1 h 56 m
- 1985
- R
- MGM/UA Distribution Company
- 1 h 56 m
Summary A bold Secret Service (William Petersen) agent straddles the line to bring down the counterfeiter (Willem DaFoe) who killed his partner.
Directed By: William Friedkin
Written By: Gerald Petievich, William Friedkin
- 1985
- R
- MGM/UA Distribution Company
- 1 h 56 m
- 1985
- R
- MGM/UA Distribution Company
- 1 h 56 m
To Live and Die in L.A.
7.5
Summary A bold Secret Service (William Petersen) agent straddles the line to bring down the counterfeiter (Willem DaFoe) who killed his partner.
Directed By: William Friedkin
Written By: Gerald Petievich, William Friedkin
Top Cast
Metascore
Universal Acclaim
Based on 16 Critic Reviews
81
88% Positive
14 Reviews
14 Reviews
13% Mixed
2 Reviews
2 Reviews
0% Negative
0 Reviews
0 Reviews
Metascore
Universal Acclaim
Based on 16 Critic Reviews
81
88% Positive
14 Reviews
14 Reviews
13% Mixed
2 Reviews
2 Reviews
0% Negative
0 Reviews
0 Reviews
To Live and Die in L.A. is as urgent and exhilaratingly paced as anything William Friedkin's done.
In the hierarchy of great movie chase sequences, the recent landmarks include the chases under the Brooklyn elevated tracks in "The French Connection" down the hills of San Francisco in "Bullitt" and through the Paris Metro in "Diva." Those chases were not only thrilling in their own right, but they also reflected the essence of the cities where they took place. Now comes William Friedkin, director of "The French Connection," with a new movie that contains another chase that belongs on that short list.
User Score
Generally Favorable
Based on 21 User Ratings
7.5
71% Positive
15 Ratings
15 Ratings
29% Mixed
6 Ratings
6 Ratings
0% Negative
0 Ratings
0 Ratings
User Score
Generally Favorable
Based on 21 User Ratings
7.5
71% Positive
15 Ratings
15 Ratings
29% Mixed
6 Ratings
6 Ratings
0% Negative
0 Ratings
0 Ratings
To Live and Die in LA or Miami Vice: L.A. Vacation? (If you asked Michael Mann for title ideas at least). The feature film before the 2006.. feature film. No, i’m not here to talk about that. But you can’t allude to the great Miami Vice (referring to the original series now - this is getting confusing) without mentioning the incredible and distinctive music. Every time I watch To Live and Die in LA i’m hit with that same feeling. Wang Chung did just as sterling a service to this film as Jan Hammer did in Miami Vice. I’ve watched To Live and Die in LA too many times. My 'too young to watch this stuff' son loves it too. He calls it 'car movie' on account of the very long, fast paced and thrilling car chase scene towards the end of the film.
The year was 1985. It was a good year for action movies. Rambo Part II; A View to a Kill; Commando and Rocky IV to name a few. I discovered all of these gratefully some years later. At this point in time I was too young even for the Goonies or National Lampoon’s European Vacation, further ’85 classics. While we’re in this year, how great of a western is Pale Rider? Preacher, played by Clint Eastwood, mysteriously arrives in a dusty, prospecting town and sorts out a greedy mining company owner terrorising the local, less fortunate residents. I’ll save the rest for a future review.
To Live and Die in LA. Enter Reckless U.S. Secret Service agent Richard Chance, played exceptionally by William Petersen. He follows the rules until the rules don’t work anymore, then he.. no strictly speaking that’s Clint Eastwood’s Dirty Harry. Its the same kind of deal though and equally as effective here. Trying to get the bad guy, black Ferrari driving, money forging extraordinaire Ric Masters becomes an unhealthy obsession for Chance. This is not without reason. Masters was responsible for his first partner, Jimmy Hart’s death. A death made all the more tragic because in true Hollywood fashion the guy was like three days from retirement, man.
Strait-laced, John Vukovich ventures Into The Abyss created with Hart’s passing. Vukovich believes in following orders and doing things by the book. The end of the film has you asking if this is how Chance started out. But the job changed him. It made him hard. The stage is set.
You may be thinking this sounds like Lethal Weapon. It’s not. This is no comedy. The mismatched, buddy cop theme is present but feels original, such is the dark tone throughout. Don’t be fooled by the colourful opening titles and synthesised music. Whenever I see Willem Dafoe in a film, I immediately think of Ric Masters demanding “I want my paper”, then annoy the people around me by saying it too frequently. The hero is only as good as his or her villainous counterpart. Mr Dafoe was perfect in this role, his character, a complicated mix of usually opposing traits. Articulate, professional and exacting, but in equal measure a fickle, temperamental and reckless artist. His criminal activities allow a privileged existence including a mansion in BelAir and bisexual companion Bianca, herself a performance artist. He routinely burns his paintings - paintings actually created for the film by german artist Rainer Fetting. No reason is given but we see him derive some pleasure from it. This is at odds with the long montage during the opening credits, casting light on the complicated process of counterfeiting money, an operation that Masters is clearly adept.
Chance plays a high risk game and takes Vukovich reluctantly along for the ride, doing anything to get closer to Masters and his operation. Ultimately Chance pays an unexpected and anti-climatic - but so realistic, #authentic?- price. After a moment of disbelief, Vukovich sheds his earlier vulnerabilities, chiefly his blind adherence to the rules and becomes a reflection of Chance’s - ends justify the means - character. Enter his best line “You’re working for me now.” Cue music. If you’re familiar with Hugh Holland’s photography of skateboarders in the seventies you’ll appreciate the warm colours the smog creates when the sun's low in this film. The colour palette is outstanding. The hazy exterior shots contrast beautifully with the moody and so eighties ambience of internal scenes. Strong greens and reds dominate in nightclub scenes and pervading cool blue light takes over in the common apartment setting.
William Friedkin directs. Popular opinion specifies 1971’s The French Connection as his most notable work. But I prefer what he does here. "I want my paper!"
Report
Friedkin plays it as brutal and cynical as he ever did with The French Connection; and this time the car chase takes place on a six-lane freeway at the height of the rush hour, going against the traffic.
An astonishing, brilliantly edited car chase--with pursuer and pursued speeding the wrong way along the LA Freeway--is one of many pleasures in this darkly stylish crime film, director William Friedkin's best effort since "The Exorcist."
Petersen is to be congratulated for creating a solid character out of a
film that likes its decor and soundtrack more than its actors. [1 Nov 1985, p.A]
Friedkin isn't nearly in enough control of his material for the film to qualify as an artwork, yet it's one of his few films with a real emotional current.
Overheated and recklessly violent.
One of the rare occasions in which I had already read the book (which is amazing - by Gerald Petievich). The movie is really a great adaptation - Willem DaFaoe is incredible as the super-weird counterfeiter, and William Peterson is off the chain as a treasury agent. Great to see him go wild before his CSI days. An easy recommendation for fans of Miami Vice.
Report
Its aging is notorious, but nothing that in any way diminishes or weakens it. You quickly understand what kind of movie it's trying to be, and the excess is an understandable and vital part of its overall performance. It's over the top in every way, but that's what makes the experience so thrilling.
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To live and die in la is a both a wonderfully shot and beautifully written movie which is not afraid to embrace its punky and uniquely 80's flair. The excellent cast do well to inhabit the world convincingly. Watching this reminded me of some of the more intense moments from shows like the the wire or true detective only with a more 'kinetic and filmic edge' which nicely stylise the various happenings. The soundtrack provides a thumping tempo which nicely tailors the preceding mayhem. The plot kept me guessing with interesting characters on both sides of the law. Overall I found this to be an impressive film that stands well against the test of time considering how many there are in this genre.
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Production Company
SLM Production Group,
New Century Productions,
United Artists
Release Date Nov 1, 1985
Duration 1 h 56 m
Rating R
Tagline Detroit, Chicago, New York, Miami were like this! This is THE CITY OF ANGELS! This is L.A.
Awards
Stuntman Awards
• 2 Wins & 2 Nominations
Cognac Festival du Film Policier
• 1 Win & 1 Nomination
Academy of Science Fiction, Fantasy & Horror Films, USA
• 1 Nomination
