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Re: The Wing Kong Exchange
After his partner is killed, ambitious yet reckless Secret Service agent Richard Chance vows to put his murderer away at all costs. This leads him into the dangerous world of counterfeit money and to the master forger, Eric Masters. Infiltrating Masters organization, Chance and his new partner Vukovich are able to set up a buy, but they need to find $30,000 to pay him up front. As their department is not willing to give them that much, Chance sets up a daring robbery, one that will have disastrous consequences for all parties.
To Live and Die in LA, released in 1985, could make a strong case for being the quintessential cerebral 1980's action film and the one by which all that followed were modeled after. Indeed such films as Ridley Scott's "Black Rain" and Nicolas Winding Refn's "Drive" can clearly point to it for inspiration. As with many other films of the 1980's, To Live and Die in LA is a microcosm of the decade itself, full of excessive violence, gratuitous sex and over the top action. At the same time, it carefully balances a morality play and tells its story in a non-linear narrative structure. These unique characteristics help it to stand out amongst the crowd and truly become a subtle masterpiece that has been examined closely to this day. Preferring to look at its world in shades of grey as opposed to the standard black and white, the film reminds us that not all heroes are good, and that not all villains are evil. Rather it allows us to decide who we want to support and who we want to vilify and, at the end, we are left with more questions than answers. Certainly a thinking man's action piece, To Live and Die in LA may not be as well known as some of its contemporaries, but its certainly better than the majority of them.
"This is what all the cab drivers look like in LA. You don't even want to see the bus drivers!"
Written and directed by William Friedkin (who had previously helmed instant classics The French Connection and The Exorcist) and co-written by Gerald Petievich (who had also written the novel on which the film is based), To Live and Die in LA is a visceral and emotive film that doesn't waste any time allowing the viewer to get comfortable. Friedkin has had his fair share of misses, but he's also proven time and again to truly understand the grittier side of film. He's at his level best here, working harmoniously with cinematographer Robby Muller to create a beautiful yet haunting film. There are some shots here that are so good they'd work well as still photography, yet Friedkin chooses not to linger on any of them long enough for the casual viewer to notice. He's much more interested with finding new and exciting camera angles and lighting techniques that will immerse the viewer even further into the picture, and he succeeds admirably. The screenplay is dynamic, allowing for a lot of action while also firing out the necessary exposition when its needed. I'd use the term "subdued" for the writing style, as nothing is overtly deliberate and always seems to creep up on you. Friedkin and Petievich also have a knack for writing excellent characters and giving them juicy yet believable dialogue, something that cannot be an easy thing to do.
"This ain't CSI bitch!"
The character of Chance is played by William Petersen, a veteran of 80's crime thrillers such as "Manhunter" and the eventual star of the original CSI television series. Petersen is an excellent actor who immerses himself in this reckless character fully. His slow descent into first obsession and then near-madness is done well and while he initially begins the film as a hero, its hard to look at him that way by the conclusion. His partner, Vukovich, is played by John Pankow, who many people may know as Ira Buchman from the television series "Mad About You". Pankow is also a strong actor and conveys his emotion well, particularly during a car chase that he wanted no part of. His character also experiences a genesis of sorts, and its great to watch it unfold through his eyes. Support is lent from the always serviceable John Turturro (as a money smuggler), Dean Stockwell (as a corrupt lawyer), Debra Feuer and Darlanne Fluegel (smoking hot chicks). The villain, Eric Masters, is played by Willem Dafoe and let's just say if you're a fan of his work you will not be disappointed. Though this is earlier in his career, its still obvious that Dafoe is a unique talent, and his work in this role really shines through. It's amazing that for all the evil he does, you can still look at him as sympathetic, a true indicator of Dafoe's talents.
"All things being equal, I'd much rather be in LA than Vietnam."
As it is an action film, it follows that there has to be some serious action here, and while Friedkin definitely wants to focus on the storytelling, he still finds time to knock our socks off. We even get some bungee jumping (unique at the time) near the beginning to help establish just how reckless Chance is. Later we're treated to a great foot chase through an airport and another one across a bridge. We also get to see the counterfeit production process (not using plates either, this is a more photo-static version) which is given enough time to make us think that we may actually understand it. There's also plenty of slam-bang 80's action music courtesy of 80's slam-bang pop group Wang Chung, who did the entire soundtrack. While the theme song to the film is not one of their best efforts, Dance Hall Days is, and we get it in a STRIP CLUB, so yeah, that's a total win. Their instrumentals are also really well done, particularly the intro credits song, that just screams 1980's in every way imaginable. Finally, Friedkin is also an expert at the car chase (as seen in his previous film The French Connection) and so decides to do another one here, with typically fantastic results. This chase, which lasts nearly 9 minutes, is superb and a true highlight of the film. Here's the scene in its entirety and in HD...you know you love me.
Now that's what I call a goddamn car chase and I highly doubt anyone would argue that with me. However, its not always about the action here, and that is what helps to set To Live and Die in LA apart from so many other films. Unlike any before it, this film chooses to paint the hero in the same light as the villain, making him just as immoral and just as willing to do whatever it takes to succeed. When Chase realizes he cannot rely on his own department to provide him with the money he needs, he has no qualms about putting his and his partner's lives in danger by robbing a supposed jewel smuggler for it. These sort of on-the-edge cop characters would become more prevalent as the years went on, but its this film where the archetype began. Unfortunately for this character, he learns that doing whatever it takes to be a hero doesn't always turn out the way you expect it to, and before the film is over he has not only been punished for his actions, he's led another to become like him as well. The film doesn't choose to be moral though, rather it simply puts these characters on display and makes us wonder why we should be cheering for any of them in the first place. As I mentioned above, its this "shades of grey" approach that makes the film compelling and allows it to transcend typical action fluff and become something a lot more powerful. Truly a modern film-noir in every sense, To Live and Die in LA is sleek, stylish and has a lot to say while saying little, which makes it an anomaly, but a welcome one all the same.
"If only it was this easy...."
To Live and Die in LA was shot on a budget of $6 million and earned over $17 million at the box office. It also helped to usher in a new era of gritty action films while proving that style could indeed survive without the proper balance of substance. That's not to say it doesn't have any substance at all, because it does, but in the Miami Vice era the sizzle was equally as valuable as the steak. To Live and Die in LA provides a great deal of that sizzle, which is why its still as potent today as it was some 27 years ago when it was released. That's what I call some serious staying power. Hyper-kinetic and superficial to the extreme, you would do well to check out To Live and Die in LA and see just what the 1980's were really all about. 8/10.
"Probably the only time you'll ever see a woman sit by and watch a man burn money in a fire instead of on her."
To Live and Die in LA
After his partner is killed, ambitious yet reckless Secret Service agent Richard Chance vows to put his murderer away at all costs. This leads him into the dangerous world of counterfeit money and to the master forger, Eric Masters. Infiltrating Masters organization, Chance and his new partner Vukovich are able to set up a buy, but they need to find $30,000 to pay him up front. As their department is not willing to give them that much, Chance sets up a daring robbery, one that will have disastrous consequences for all parties.
To Live and Die in LA, released in 1985, could make a strong case for being the quintessential cerebral 1980's action film and the one by which all that followed were modeled after. Indeed such films as Ridley Scott's "Black Rain" and Nicolas Winding Refn's "Drive" can clearly point to it for inspiration. As with many other films of the 1980's, To Live and Die in LA is a microcosm of the decade itself, full of excessive violence, gratuitous sex and over the top action. At the same time, it carefully balances a morality play and tells its story in a non-linear narrative structure. These unique characteristics help it to stand out amongst the crowd and truly become a subtle masterpiece that has been examined closely to this day. Preferring to look at its world in shades of grey as opposed to the standard black and white, the film reminds us that not all heroes are good, and that not all villains are evil. Rather it allows us to decide who we want to support and who we want to vilify and, at the end, we are left with more questions than answers. Certainly a thinking man's action piece, To Live and Die in LA may not be as well known as some of its contemporaries, but its certainly better than the majority of them.
"This is what all the cab drivers look like in LA. You don't even want to see the bus drivers!"
Written and directed by William Friedkin (who had previously helmed instant classics The French Connection and The Exorcist) and co-written by Gerald Petievich (who had also written the novel on which the film is based), To Live and Die in LA is a visceral and emotive film that doesn't waste any time allowing the viewer to get comfortable. Friedkin has had his fair share of misses, but he's also proven time and again to truly understand the grittier side of film. He's at his level best here, working harmoniously with cinematographer Robby Muller to create a beautiful yet haunting film. There are some shots here that are so good they'd work well as still photography, yet Friedkin chooses not to linger on any of them long enough for the casual viewer to notice. He's much more interested with finding new and exciting camera angles and lighting techniques that will immerse the viewer even further into the picture, and he succeeds admirably. The screenplay is dynamic, allowing for a lot of action while also firing out the necessary exposition when its needed. I'd use the term "subdued" for the writing style, as nothing is overtly deliberate and always seems to creep up on you. Friedkin and Petievich also have a knack for writing excellent characters and giving them juicy yet believable dialogue, something that cannot be an easy thing to do.
"This ain't CSI bitch!"
The character of Chance is played by William Petersen, a veteran of 80's crime thrillers such as "Manhunter" and the eventual star of the original CSI television series. Petersen is an excellent actor who immerses himself in this reckless character fully. His slow descent into first obsession and then near-madness is done well and while he initially begins the film as a hero, its hard to look at him that way by the conclusion. His partner, Vukovich, is played by John Pankow, who many people may know as Ira Buchman from the television series "Mad About You". Pankow is also a strong actor and conveys his emotion well, particularly during a car chase that he wanted no part of. His character also experiences a genesis of sorts, and its great to watch it unfold through his eyes. Support is lent from the always serviceable John Turturro (as a money smuggler), Dean Stockwell (as a corrupt lawyer), Debra Feuer and Darlanne Fluegel (smoking hot chicks). The villain, Eric Masters, is played by Willem Dafoe and let's just say if you're a fan of his work you will not be disappointed. Though this is earlier in his career, its still obvious that Dafoe is a unique talent, and his work in this role really shines through. It's amazing that for all the evil he does, you can still look at him as sympathetic, a true indicator of Dafoe's talents.
"All things being equal, I'd much rather be in LA than Vietnam."
As it is an action film, it follows that there has to be some serious action here, and while Friedkin definitely wants to focus on the storytelling, he still finds time to knock our socks off. We even get some bungee jumping (unique at the time) near the beginning to help establish just how reckless Chance is. Later we're treated to a great foot chase through an airport and another one across a bridge. We also get to see the counterfeit production process (not using plates either, this is a more photo-static version) which is given enough time to make us think that we may actually understand it. There's also plenty of slam-bang 80's action music courtesy of 80's slam-bang pop group Wang Chung, who did the entire soundtrack. While the theme song to the film is not one of their best efforts, Dance Hall Days is, and we get it in a STRIP CLUB, so yeah, that's a total win. Their instrumentals are also really well done, particularly the intro credits song, that just screams 1980's in every way imaginable. Finally, Friedkin is also an expert at the car chase (as seen in his previous film The French Connection) and so decides to do another one here, with typically fantastic results. This chase, which lasts nearly 9 minutes, is superb and a true highlight of the film. Here's the scene in its entirety and in HD...you know you love me.
[video=youtube;IdXNnwxWkeU]http://www.youtube.com/watch?v=IdXNnwxWkeU&feature=related[/video]
Now that's what I call a goddamn car chase and I highly doubt anyone would argue that with me. However, its not always about the action here, and that is what helps to set To Live and Die in LA apart from so many other films. Unlike any before it, this film chooses to paint the hero in the same light as the villain, making him just as immoral and just as willing to do whatever it takes to succeed. When Chase realizes he cannot rely on his own department to provide him with the money he needs, he has no qualms about putting his and his partner's lives in danger by robbing a supposed jewel smuggler for it. These sort of on-the-edge cop characters would become more prevalent as the years went on, but its this film where the archetype began. Unfortunately for this character, he learns that doing whatever it takes to be a hero doesn't always turn out the way you expect it to, and before the film is over he has not only been punished for his actions, he's led another to become like him as well. The film doesn't choose to be moral though, rather it simply puts these characters on display and makes us wonder why we should be cheering for any of them in the first place. As I mentioned above, its this "shades of grey" approach that makes the film compelling and allows it to transcend typical action fluff and become something a lot more powerful. Truly a modern film-noir in every sense, To Live and Die in LA is sleek, stylish and has a lot to say while saying little, which makes it an anomaly, but a welcome one all the same.
"If only it was this easy...."
To Live and Die in LA was shot on a budget of $6 million and earned over $17 million at the box office. It also helped to usher in a new era of gritty action films while proving that style could indeed survive without the proper balance of substance. That's not to say it doesn't have any substance at all, because it does, but in the Miami Vice era the sizzle was equally as valuable as the steak. To Live and Die in LA provides a great deal of that sizzle, which is why its still as potent today as it was some 27 years ago when it was released. That's what I call some serious staying power. Hyper-kinetic and superficial to the extreme, you would do well to check out To Live and Die in LA and see just what the 1980's were really all about. 8/10.
"Probably the only time you'll ever see a woman sit by and watch a man burn money in a fire instead of on her."
: Speaking of SyFy shark movies, have you seen Jersey Shore Shark Attack yet? I downloaded it the other day but haven't gotten around to it.