1996, the best year in movie history, pt. 64: L.A. Confidential
My “anchor” year is 1996, but now I’m casting a wider net. 1997 is well within what I consider to be a “golden” period of moviemaking – which, like other golden eras, hearkens back to previous ones. The English Patient (1996) hearkens back to David Lean; L.A. Confidential (1997) hearkens back to Chinatown, which itself hearkens to older crime dramas – the greatest of which, for me, is The Big Heat.
The Big Heat, Chinatown, L.A. Confidential. Three dramas about police or ex-police who have a special zeal for protecting women, and who end up hurting those women in one way or another.
That sounds as if the women were passive. They aren’t. Arguably, the most forceful and complex character in each of these movies is a woman. In L.A. Confidential, it’s Lynn Bracken (Kim Basinger), a prostitute who specializes in reminding men of Veronica Lake; meanwhile, she loves those she is able to love.
But these movies are mainly about the men who try to save the women – foolishly, perhaps.
The “protector” in L.A. Confidential is Bud White (Russell Crowe). Rescuing domestic abuse victims and sex workers is his avocation. His temper often gets the better of him. His captain, Dudley Smith (James Cromwell), keeps him around to intimidate and beat confessions out of criminals. This is the 1950s. Los Angeles is growing. Mobsters from out of town try to move in, but the police keep them in check.
It’s the corrupt local bigwigs, cloaked in respectability, accumulating wealth and power in tandem with the city, who run the scene.
Bud seems like a brute, but he’s smart. He follows leads and quietly makes progress on tricky cases. The movie also follows two other smart police officers. Jack Vincennes (Kevin Spacey) is running a side-hustle, sharing information with the tabloids. They get the scoops; he gets the collars and the publicity. Edmund Exley (Guy Pearce) is a careerist “boy scout” – upright but ruthless, and loyal to none but himself. His colleagues initially doubt that he has the stomach to perform the necessary brutalities. By the end, he’s laid out more bodies than anyone else.
The death toll is high, what with one mass murder, a few gunfights, and many assassinations. There are a lot of beatings, too, and an off-camera rape. People speak nastily enough to make each other cry. All of this taxes and ennervates the viewer. The movie isn’t shy about how morally compromised, even downright awful, these police are; but it revels in the exhibition. It invites the viewer to share in the thrill of pumping a shotgun or getting an interrogee to squirm. More than Chinatown, in which the spectacle descends into tragedy and then sordidness, or The Big Heat, which seethes with irony, L.A. Confidential helps us to understand the visceral attraction of policing that mixes sadism, cynicism, and self-righteousness.
Each protagonist is asked why he became a cop. Jack Vincennes can’t remember. Edmund Exley wants to catch the guys who don’t get caught: in other words, he wants to outsmart people. The hotheaded Bud White, the noblest of the three, simply responds to woundedness, inflicting it upon the wounders and rescuing the wounded. He breaks the most rules – while following orders, as often as not – but he takes the job more seriously than the others do. He also relishes it the least.
The best line is uttered by Lynn Bracken when she says goodbye to Exley, who has just climbed a few more rungs up the ladder: “Some men get the world. Others get ex-hookers and a trip to Arizona.” Ex-hookers and Arizona is the better choice.
I don’t know how closely this movie resembles real policing. I just have other movies to compare it to.
The Big Heat, Chinatown, L.A. Confidential. Three dramas about police or ex-police who have a special zeal for protecting women, and who end up hurting those women in one way or another.
That sounds as if the women were passive. They aren’t. Arguably, the most forceful and complex character in each of these movies is a woman. In L.A. Confidential, it’s Lynn Bracken (Kim Basinger), a prostitute who specializes in reminding men of Veronica Lake; meanwhile, she loves those she is able to love.
But these movies are mainly about the men who try to save the women – foolishly, perhaps.
The “protector” in L.A. Confidential is Bud White (Russell Crowe). Rescuing domestic abuse victims and sex workers is his avocation. His temper often gets the better of him. His captain, Dudley Smith (James Cromwell), keeps him around to intimidate and beat confessions out of criminals. This is the 1950s. Los Angeles is growing. Mobsters from out of town try to move in, but the police keep them in check.
It’s the corrupt local bigwigs, cloaked in respectability, accumulating wealth and power in tandem with the city, who run the scene.
Bud seems like a brute, but he’s smart. He follows leads and quietly makes progress on tricky cases. The movie also follows two other smart police officers. Jack Vincennes (Kevin Spacey) is running a side-hustle, sharing information with the tabloids. They get the scoops; he gets the collars and the publicity. Edmund Exley (Guy Pearce) is a careerist “boy scout” – upright but ruthless, and loyal to none but himself. His colleagues initially doubt that he has the stomach to perform the necessary brutalities. By the end, he’s laid out more bodies than anyone else.
The death toll is high, what with one mass murder, a few gunfights, and many assassinations. There are a lot of beatings, too, and an off-camera rape. People speak nastily enough to make each other cry. All of this taxes and ennervates the viewer. The movie isn’t shy about how morally compromised, even downright awful, these police are; but it revels in the exhibition. It invites the viewer to share in the thrill of pumping a shotgun or getting an interrogee to squirm. More than Chinatown, in which the spectacle descends into tragedy and then sordidness, or The Big Heat, which seethes with irony, L.A. Confidential helps us to understand the visceral attraction of policing that mixes sadism, cynicism, and self-righteousness.
Each protagonist is asked why he became a cop. Jack Vincennes can’t remember. Edmund Exley wants to catch the guys who don’t get caught: in other words, he wants to outsmart people. The hotheaded Bud White, the noblest of the three, simply responds to woundedness, inflicting it upon the wounders and rescuing the wounded. He breaks the most rules – while following orders, as often as not – but he takes the job more seriously than the others do. He also relishes it the least.
The best line is uttered by Lynn Bracken when she says goodbye to Exley, who has just climbed a few more rungs up the ladder: “Some men get the world. Others get ex-hookers and a trip to Arizona.” Ex-hookers and Arizona is the better choice.
I don’t know how closely this movie resembles real policing. I just have other movies to compare it to.