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La Confidential And Film Noir LA Confidential and Film Noir One of the most influential film movements in the 1940's was a genre that is known today as film noir.
LA Confidential Corruption: Morality For years police corruption has been a major problem in American society but where is the line between moral and unethical police
LA confidential Books Abbott, Megan E. The street was mine: white masculinity in hardboiled fiction and film noir New York: Palgrave Macmillan, 2002. -MAIN: PS374.D4
Including: JKF, Under Siege, Free Willy. A Time To Kill, Tin Cup, Devil's Advocate, Heat. LA Confidential, City of Angels. The Negotiator, Entraprnent, Fight Club,
Roman (1974) Chinatown Tarantino, Quentin (1992) Reservoir Dogs Hanson, Curtis (1997) LA Confidential Nolan, Christopher (2001) Memento Lynch, David (2001) Mullholand
Submitted by Laurynas_23 on January 13, 2008
Category: Miscellaneous
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This didn't have to happen. Ellroy's novel is a ferocious, caterwauling slab of pulp -- a big Buick 6 of a book that serves up 1950s-era L.A. as if the only creatures who strode the West Coast were mobsters, hookers, corrupt cops and scandal magazine editors. The only bummer about "L.A. Confidential," the book, is fighting your way through Ellroy's ridiculously rat-a-tat prose. ("The girl boo-hoo'd; sirens scree'd outside. Bud turned Sanchez around, kicked him in the balls. 'For ours, Pancho. And you got off easy.'") Reading Ellroy can be like deciphering Morse code tapped out by a pair of barely sentient testicles.
Curtis Hanson, the director behind the yuppie distress films "The River Wild" and "The Hand That Rocks the Cradle," has said in interviews that he wanted to preserve as much of Ellroy's language and dialogue as possible in his version of "L.A. Confidential." Hanson has succeeded -- perhaps too well. The first half of this film has a blocky, studied, too-well-lit feeling that squeezes the life out of scene after successive scene. There's no room for poetry; worse, the actors seem to be performing in different movies.
"L.A. Confidential" opens with a series of campy, sunshine-filled reels of stock footage (palm trees, nuclear families, late-model cars) of 1950s Los Angeles. The cheerfully disembodied voice-over is supplied by Sid Hudgens (Danny DeVito), whom we come to find is the energetically sleazeball editor of a scandal sheet called Hush-Hush. "Life is good in L.A.," Hudgens intones as we watch the shiny, happy people cavort. "It's paradise." His patter ends, as such patter is wont to do, with the (groan) warning: "But there is trouble in paradise ..."
In this case, the trouble includes a series of gruesome and puzzling mob hits, which Hanson renders in short vignettes and flashes of lurid black-and-white news photographs. There's trouble at the LAPD, too. For one thing, the squad has a real fondness...
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