Spectacular Cop Drama That Rivals CHINATOWN...

Rating: 10/10 (27 March 1999)

This stylish, action-filled cop story is maze-like in plot and looks absolutely incredible. Not only is there an Oscar winning performance by Kim Basinger, but a discovery of 2 fine Australian actors, Russell Crowe and Guy Pearce. They seem as American as apple pie on-screen, bringing to life the main protagonists of James Ellroy's novel. The hard-boiled script by director Curtis Hanson and Brian Helgeland brilliantly follows through with the evolution of these seemingly one dimensional characters, both on opposite sides of a police officer's moral code, who find they have a lot more in common than first glimpsed. Sure, its a recollection of film-noir, but it is without a doubt a 90's film. The 1950's are relived with great nostalgia and period set-ups, however, it is not the showcase of the film. Its plot and acting are what is so great.
Kevin Spacey headlines the troupe, playing slick Detective Jack Vincennes, a consultant to "Badge of Honor", a fictional TV show based on Dragnet I guess. There are many nuances to real-life people and events, not the least being Lana Turner in a hilarious scene, or Johnny Stompanato, her mob bodyguard boyfriend who was later shot to death by Turner's own daughter (not in the movie). Spacey is the cop who "busted Mitchum" which he takes great pride in. Crowe is such a presence as the brutish enforcer who has a soft spot for abused women for a very good reason. This is where Basinger, a Veronica Lake look-alike (and noir film fixture), is able to come across as a hooker with a mind and ambition beyond what she does. It's a good performance, maybe not Oscar-worthy, but noteworthy, nonetheless. Pearce plays the stodgy, son of a cop lieutenant, who along with Crowe, realizes there is more at stake here than a simple murder/robbery.
To get into any more plot aspects or characterizations would be ridiculous. Just view the film and see how unique and important it is. This is not your usual police squad period portrait. Most importantly is L.A. CONFIDENTIAL's ending, which consists of a shootout, something that would usually turn movie buffs away. 9 out of 10 cop dramas end this way uneffectively. Here, we see a revelation. A shootout that holds you in a trance and surprises with each blow. It is to climactic shootouts what FRENCH CONNECTION was to car chases. As far as comparison to CHINATOWN, there really is none. This is not to say they do not belong in the same league. They even have the same Musical composer, Jerry Goldsmith, who again utilizes the trumpet to resonate corruption and deception. These are 2 distinctly different visions of Los Angeles cop warfare. CHINATOWN was more of a character study and had more to say on some pretty deep issues. It took place pre-WWII and was a direct homage to the dark noir pix of the 40's and 50's. L.A. CONFIDENTIAL, while deep in substance in its own right, is more action oriented and simpler. Both will always stand as a testament to old-style police melodrama.
NOTE: Like CHINATOWN, see it in its 2.35:1 aspect ration, the widest of Widescreen images.
RATING: 10 of 10