2008

LA Confidential

drawbacks.

gossip is like a national sport. People absorb and spread rumors further. They love their dirty, sleazy stink - so long as this is not caused by their own dirty laundry. The more cryptic the better. Homosexuality, communism, drugs and violence are the stuff of Hollywood in the mid-20th Century dark black gossip nightmares for many a celebrity has been woven. Some even go up in smoke before their sound has died away, while others stubbornly adhere. All strictly confidential and "Hush-Hush". Of course! LA Confidential (1997), based on the same mammoth work of eloquent crime author James Ellroy, such presents a bleak nightmare web of crime and gossip - the film and as such book has become the antithesis of the superficial glamor of the Hollywood dream factory.

whom James Ellroy's novel is a term that knows what to complex - for a complex adaptation unsuitable - template it is "LA Confidential". In this context, Brian Helgeland's earnings in the script even more praiseworthy. He presents a prime example of how to promote a delicate presentation with meticulous surgical apparently a little jewel to light. Sure, details are lost here and there and are still one or the other subplot has on the line. On the whole, however, this is more than to get over well. What counts is the balance, which has emerged Helgeland particularly with regard to the necessary room for development of the three protagonists Edmund Exley, Jack Vincennes and Wendell 'Bud' White.

Restaurant Massacre is for these three disparate Characters to trial by fire. Each with their own vices and weaknesses that he has to shoulder, gets an individual way in the same maelstrom of corruption, murder and extortion. Seemingly random events are gaining in importance in the context of a parent sent links built, which eventually join together to create a perfectly woven mosaic crimes. to tell from this nonchalant casualness LA Confidential wins the film's immensely powerful appeal, and a not to be underestimated earth. Nothing about the story seems forced or over-engineered, only to rise at the end of an imaginary account. Instead, the audience the pleasant feeling of a natural development, even had no other way to follow, can attend.

LA Confidential is not only a tribute, a perfectly orchestrated reminder feature-length - "LA Confidential" is pure Film Noir . The plot, its characters, as is the entire setting breathe every second, the dirty dust of the big brothers from the early days of Hollywood - knitted only maybe a bit more darker, denser and less transparent. No doubt was in some early representatives the noir a clear division of roles to a certain extent, not always given ( On Dangerous Ground (1952), Asphalt Jungle (1950)), but so far the heart of darkness as director Curtis Hanson is expected to far few people have dared to which at least under the existing circumstances, considering among other things, the regulations of the Production Code, also not surprising. Surely you did in those days preferred well-defined fronts collide ( Crossfire (1947), The Racket (1951), The Narrow Margin (1952) or Crime Wave (1954)) to justice at the end with Help of a dashing hero to justice to.

That this in LA Confidential (and certainly other representatives to a diminished extent) is not the case, gives the film its characters and especially its special appeal and vitality. The allure of the forbidden gift of history, specifically in relation to the unpredictable 'Bud' White, the most emotional scenes that develop here evident from his weaknesses. About his care for abused women, combined with the excessive tendency to violence put the viewer at the beginning of the film in strong emotional tension that can be sent set points (including the "Bloody Christmas brawl, White's repeated confrontations with the hated Ed Exley or be alone in the liberation of the Mexican girl) over the entire season will be maintained. White manages to sardonic way to win the viewer complicit and frighteningly easy to collect revenue for themselves. Although it is at least in the first half to be nothing more than a hooligan with badge seems he and his actions seem attractive. Acts that are objectively beyond the good, make subjective but dangerously strong satisfaction. From a purely personal perspective, it can be stated therefore that 'Bud' probably the most interesting character of the trio is - both in the great novel as well as in Hanson / Helgeland's adaptation congenial. Make it ideal for both an uncompromising line-out attitude and the extremely subtle woven character development that builds on themes of the dumb but good-hearted but naive and whipping boy to independently investigating cop. (Perhaps a direct symbiosis of Sterling Hayden's film characters Dix Handley ( Asphalt Jungle ) and Det Lt. Sims ( Crime Wave )? Any event, the type forth between Hayden and Crowe not from the hand-setting parallels.)

Brian Helgeland It is to their credit that he has taken on the psychological characterizations and complexity of the characters true template and processed film justice. Not only White, but also the colleagues Ed Exley and Jack Vincennes in the film offer enough material for a differentiated approach. The audience will benefit from passage of time with the characters know better and understand them. Behavioral motivations are not thrown plump into the room, they are presented in passing, which described his share to the earlier, naturally looking development of the substance contributes. is

addition to content level as the formal beyond doubt. A situation that can beat the friend of the classic noir cinema at the sight of the setting and props heart beat faster. If you were to escape the image with its color, it could be make up any difference between classic noir and representatives of the Neo-Noir. A large proportion of the superb visualization has undoubtedly cinematographer Dante Spinotti, which helps LA Confidential using a variety of stylistic devices for optical perfection. The technical level is based on the level of the narrative, what an incredibly impressive directness, the effect of each second is enjoyed to the max.

LA Confidential no doubt deserve its reputation as the best Ellroy implementation and stabs another adaptation trials such as the unacceptable Cop (1988), based on Ellroy's first part of the massive Lloyd Hopkins trilogy, as well as Brian De Palmas mediocre Black Dahlia (2006) easily from. The dense content is compressed film justice without major problems. The angular style, and the roughness of the template can be found implemented without compromise. Rounding out the package finally by an excellent cast, which can among other things boasts top performances from Russell Crowe, Kevin Spacey and Kim Basinger (10/10).

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