I haven’t seen L.A. Confidential since 1998 or so, whenever the laserdisc came out. Before the film came out–I saw it in the theaters of course, being a big Russell Crowe fan back then–I read James Ellroy’s book. So, obviously, the film cuts a lot and I don’t remember the book very well, except that it took place over a long period of time. I don’t think it was that good, but you did get to know the characters… You don’t in L.A. Confidential: The Movie. Instead, you get to know and care when the filmmakers tell you to care. It’s Oscar-bait. As I started watching it, I thought it would be okay Oscar-bait, but it really isn’t. For a few reasons.
First, since I’ll be on and on about it if I don’t get it out of the way: Kim Basinger. 1) She does not look like Veronica Lake, she does not resemble Veronica Lake, never in a million years would I think she does. According to IMDb, Izabella Scorupco turned down the role and she owes me dinner for the thirty minutes or so of Basinger “acting” I just had to endure. 2) Kim Basinger is awful. The number of films, probably starting with Batman, that she has hurt or ruined with her aforementioned “acting” probably equals the number of films she has “acted” in. I sort of remember once saying Nine 1/2 Weeks was her only reasonable acting job. Since I haven’t seen it in a long time, I won’t make such a claim. However, after seeing her “talents” on display in L.A. Confidential, I doubt I’d be able to reinforce said claim.
There: a paragraph for Basinger’s bad acting. Does Guy Pearce get a whole paragraph? Maybe. He is not good. His character needs to be good. The audience needs to identify with him, not against him. We aren’t suppose to think cops beating the shit out of and murdering innocent (or misdemeanor-committing) people is okay. Does that mean Pearce is actually so good that I’m just upset because he was so good–he was supposed to appear unlikable, correct? No, he was terrible. The scenes between him and Basinger at the end were awful. Not to mention how terrible their actual sex scene was. That was a special kind of awful. Made me want to stick pencils in my ears to break the drums.
However–and I’m breaking up the crap with some pearls–Russell Crowe is good. He has very little do. Most of his scenes are with Basinger and so he had no one to work with, but he still shines through. His character is decent and deserving of a better film. However, L.A. Confidential has got to be one of Kevin Spacey’s best performances. Since Spacey has turned into such an embarrassing Oscar-whore (sort of like Crowe), I’d forgotten how good he could be. If L.A. Confidential had been about Spacey’s redemption… Oh, one can only dream. The film also has David Straithairn and underuses him, which is an incredible affront to the species.
No, the problem with the film, why it doesn’t achieve or overcome the awful acting, is the writing. Brian Helgeland and Curtis Hanson kept a couple parts of the book (I think, the Nite Owl murders seem to be how I remember), tossed the rest, but kept scenes from the book and lines of dialogue. Scenes and lines that mean nothing without the rest of the book. Or they didn’t keep the rhyming parts. So, the film deceives. In the middle, until about the 90 minute mark, it still seems like something good could come of all this stuff. A period cop movie called The Nite Owl Murders could have been amazing, but this film isn’t a cop movie. It’s not noir or neo-noir or anything like that. It’s Oscar-bait and, as Oscar-bait goes, I suppose it’s on par for 1997. If I remember correctly, 1997 was actually a good year, it was just that a bunch of shit was popular… as it goes. Gattaca, for instance, was from 1997. Comparing the two films is an incredible insult to Gattaca and possibly the whole idea of art in general.
I watched the DVD (my laserdisc is probably long gone–I rented the DVD for a buck and quarter and the laser cost $32 from Ken Crane’s). There are some audio looping problems, but I don’t think it’s the disc, because I noticed the mouths didn’t match the dialogue. Maybe there’s a good version of it out there somewhere, in the Warner vaults or something, but I really doubt it….
One last thing about 1997. I just saw that it’s the year Air Force One came out. I’ve never pinpointed, specifically, the downfall of American popular cinema. I can tell you when it was good, when it was better than it is now, and when everything was shit. But is there a turning point? I think it might be Air Force One–you had the previously reliable Harrison Ford in a complete piece of garbage. Petersen was already done, so I’m not putting anything on him, so I think I’ll hang it all on Ford whoring himself for money–in Air Force One. With a few blips–and pretty insignificant ones–his career has been downhill from that specific film. So it’s all his fault. I guess. None of this rant had anything to do with L.A. Confidential….
Okay, I’m done. (Damn Izabella Scorupco. Somebody ought to make her sit down and watch Basinger epic The Real McCoy over and over again. Except cut out all the Val Kilmer parts, because he was funny).
Directed by Curtis Hanson; written by Brian Helgeland and Hanson, based on the novel by James Ellroy; director of photography, Dante Spinotti; edited by Peter Honess; music by Jerry Goldsmith; produced by Arnon Milchan, Hanson and Michael Nathanson; released by Warner Bros.
Starring Kevin Spacey (Jack Vincennes), Russell Crowe (Bud White), Guy Pearce (Ed Exley), James Cromwell (Capt. Dudley Smith), Kim Basinger (Lynn Bracken), David Strathairn (Pierce Morehouse Patchett), Danny DeVito (Sid Hudgens), Graham Beckel (Dick Stensland), Paul Guilfoyle (Mickey Cohen), Ron Rifkin (Dist. Atty. Ellis Loew), Matt McCoy (Brett Chase) and Paolo Seganti (Johnny Stompanato).