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L.A. Confidential Wikipedia pages
L.A. Confidential (soundtrack)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
L.A. Confidential is either the original soundtrack, on the Restless Records label featuring mainly songs and source music, or the original film score, on Varèse Sarabande Records, of the 1997 Academy Award- and Golden Globe Award-winning film L.A. Confidential starring Kevin Spacey, Russell Crowe, Guy Pearce, James Cromwell, Danny DeVito, and Kim Basinger (who won the Academy Award for Best Supporting Actress for this film). The original score was composed by Jerry Goldsmith.[1]
Track listing (Score on Varèse Sarabande)[edit]
L.A. Confidential
Soundtrack album by Jerry Goldsmith
Released
November 25, 1997
Genre
Film score
Length
30:01
Label
Varèse Sarabande
Producer
Jerry Goldsmith
Jerry Goldsmith chronology
Air Force One
(1997) L.A. Confidential
(1997) The Edge
(1997)
Professional ratings
Review scores
Source
Rating
AllMusic 4/5 stars[2]
Filmtracks 3/5 stars[3]
Jerry Goldsmith's score was nominated for the Academy Award for Best Original Dramatic Score, the Golden Globe Award for Best Original Score (lost both times to the score of Titanic), and the BAFTA Award for Best Film Music (lost to the music of Romeo + Juliet). It is based on a musical motif from Leonard Bernstein's Academy Award-nominated score for On the Waterfront.
1.Bloody Christmas (2:50)
2.The Cafe (2:20)
3.Questions (2:20)
4.Susan Lefferts (2:54)
5.Out Of The Rain (2:47)
6.Rollo Tomasi (3:08)
7.The Photos (2:28)
8.The Keys (1:52)
9.Shootout (4:09)
10.Good Lad (2:19)
11.The Victor (2:32)
Notes and Quotes: The insert contains a note from the director about the score, as well as biographical information about Goldsmith. A song album for the film was released three months earlier and includes only two tracks of Goldsmith music (both of which appear on the original score release).
Track listing (Soundtrack on Restless)[edit]
L.A. Confidential
Soundtrack album by Jerry Goldsmith/various
Released
26 August 1997
Genre
Soundtrack
Length
35:43
Label
Restless Records 74321525962
Producer
Curtis Hanson
Professional ratings
Review scores
Source
Rating
AllMusic 3/5 stars[4]
1."Badge of Honor" (0:22) - Jerry Goldsmith (score)
2."Ac-Cent-Tchu-Ate the Positive" (1:56) - Harold Arlen, Johnny Mercer
3."The Christmas Blues" (2:53) - Sammy Cahn, David Jack Holt
4."Look for the Silver Lining" (2:39) - Buddy DeSylva, Jerome Kern
5."Makin' Whoopee" (3:28) - Walter Donaldson, Gus Kahn
6."Hit the Road to Dreamland" (1:58) - Harold Arlen, Johnny Mercer
7."Oh! Look at Me Now" (3:08) - Joe Bushkin, John DeVries
8."The Lady Is a Tramp" (3:12) - Lorenz Hart, Richard Rodgers
9."Wheel of Fortune" (3:24) - Bennie Benjamin, George David Weiss
10."But Not for Me" (2:50) - George Gershwin, Ira Gershwin
11."How Important Can It Be?" (2:33) - Bennie Benjamin, George David Weiss
12."Looking At You" (2:17) - Cole Porter
13."Powder Your Face with Sunshine" (2:32) - Carmen Lombardo, Stanley Rochinski
14."L.A. Confidential" (2:31) - Jerry Goldsmith (score)
Unlike "Badge of Honor," L.A. Confidential also appears on the score album (as "The Victor").
References[edit]
1.Jump up ^ "Jerry Goldsmith – L.A. Confidential". discogs.com. Retrieved 2015-01-04.
2.Jump up ^ link
3.Jump up ^ link
4.Jump up ^ link
Categories: 1997 soundtracks
Film soundtracks
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This page was last modified on 5 January 2015, at 09:08.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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http://en.wikipedia.org/wiki/L.A._Confidential_(soundtrack)
L.A. Confidential (soundtrack)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
L.A. Confidential is either the original soundtrack, on the Restless Records label featuring mainly songs and source music, or the original film score, on Varèse Sarabande Records, of the 1997 Academy Award- and Golden Globe Award-winning film L.A. Confidential starring Kevin Spacey, Russell Crowe, Guy Pearce, James Cromwell, Danny DeVito, and Kim Basinger (who won the Academy Award for Best Supporting Actress for this film). The original score was composed by Jerry Goldsmith.[1]
Track listing (Score on Varèse Sarabande)[edit]
L.A. Confidential
Soundtrack album by Jerry Goldsmith
Released
November 25, 1997
Genre
Film score
Length
30:01
Label
Varèse Sarabande
Producer
Jerry Goldsmith
Jerry Goldsmith chronology
Air Force One
(1997) L.A. Confidential
(1997) The Edge
(1997)
Professional ratings
Review scores
Source
Rating
AllMusic 4/5 stars[2]
Filmtracks 3/5 stars[3]
Jerry Goldsmith's score was nominated for the Academy Award for Best Original Dramatic Score, the Golden Globe Award for Best Original Score (lost both times to the score of Titanic), and the BAFTA Award for Best Film Music (lost to the music of Romeo + Juliet). It is based on a musical motif from Leonard Bernstein's Academy Award-nominated score for On the Waterfront.
1.Bloody Christmas (2:50)
2.The Cafe (2:20)
3.Questions (2:20)
4.Susan Lefferts (2:54)
5.Out Of The Rain (2:47)
6.Rollo Tomasi (3:08)
7.The Photos (2:28)
8.The Keys (1:52)
9.Shootout (4:09)
10.Good Lad (2:19)
11.The Victor (2:32)
Notes and Quotes: The insert contains a note from the director about the score, as well as biographical information about Goldsmith. A song album for the film was released three months earlier and includes only two tracks of Goldsmith music (both of which appear on the original score release).
Track listing (Soundtrack on Restless)[edit]
L.A. Confidential
Soundtrack album by Jerry Goldsmith/various
Released
26 August 1997
Genre
Soundtrack
Length
35:43
Label
Restless Records 74321525962
Producer
Curtis Hanson
Professional ratings
Review scores
Source
Rating
AllMusic 3/5 stars[4]
1."Badge of Honor" (0:22) - Jerry Goldsmith (score)
2."Ac-Cent-Tchu-Ate the Positive" (1:56) - Harold Arlen, Johnny Mercer
3."The Christmas Blues" (2:53) - Sammy Cahn, David Jack Holt
4."Look for the Silver Lining" (2:39) - Buddy DeSylva, Jerome Kern
5."Makin' Whoopee" (3:28) - Walter Donaldson, Gus Kahn
6."Hit the Road to Dreamland" (1:58) - Harold Arlen, Johnny Mercer
7."Oh! Look at Me Now" (3:08) - Joe Bushkin, John DeVries
8."The Lady Is a Tramp" (3:12) - Lorenz Hart, Richard Rodgers
9."Wheel of Fortune" (3:24) - Bennie Benjamin, George David Weiss
10."But Not for Me" (2:50) - George Gershwin, Ira Gershwin
11."How Important Can It Be?" (2:33) - Bennie Benjamin, George David Weiss
12."Looking At You" (2:17) - Cole Porter
13."Powder Your Face with Sunshine" (2:32) - Carmen Lombardo, Stanley Rochinski
14."L.A. Confidential" (2:31) - Jerry Goldsmith (score)
Unlike "Badge of Honor," L.A. Confidential also appears on the score album (as "The Victor").
References[edit]
1.Jump up ^ "Jerry Goldsmith – L.A. Confidential". discogs.com. Retrieved 2015-01-04.
2.Jump up ^ link
3.Jump up ^ link
4.Jump up ^ link
Categories: 1997 soundtracks
Film soundtracks
Navigation menu
Create account
Log in
Article
Talk
Read
Edit
View history
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
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Recent changes
Contact page
Tools
What links here
Related changes
Upload file
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Permanent link
Page information
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Cite this page
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Create a book
Download as PDF
Printable version
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Edit links
This page was last modified on 5 January 2015, at 09:08.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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http://en.wikipedia.org/wiki/L.A._Confidential_(soundtrack)
L.A. Confidential
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Question book-new.svg
This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2014)
This article is about James Ellroy's novel. For the film, see L.A. Confidential (film). For the book on Lance Armstrong, see L. A. Confidentiel.
L.A. Confidential
LAconfidentialcvr.jpg
First edition cover
Author
James Ellroy
Cover artist
Jacket design by Paul Gamarello
Jacket illustration by Stephen Peringer
Country
United States
Language
English
Series
L.A. Quartet
Genre
Crime fiction, noir, historical fiction
Publisher
The Mysterious Press
Publication date
June 1990
Media type
Print (hardcover & paperback) and audio cassette
Pages
496 pp (first edition, hardcover)
ISBN
ISBN 0-89296-293-3 (first edition, hardcover)
OCLC
21041119
Dewey Decimal
813/.54 20
LC Class
PS3555.L6274 L18 1990
Preceded by
The Big Nowhere (1988)
Followed by
White Jazz (1992)
L.A. Confidential (1990) is neo-noir novel by James Ellroy, and the third of his L.A. Quartet series. James Ellroy dedicated L.A. Confidential "to Mary Doherty Ellroy". The epigraph is "A glory that costs everything and means nothing—Steve Erickson."
Contents [hide]
1 Plot
2 Film adaptation
3 Television series
4 Reception
5 See also
6 References
7 External links
Plot[edit]
The story revolves around a group of LAPD officers in the early 1950s who become embroiled in a mix of sex, corruption, and murder following a mass murder at the Nite Owl coffee shop. The story eventually encompasses organized crime, political corruption, heroin trafficking, pornography, prostitution, institutional racism, and Hollywood. The title refers to the scandal magazine Confidential, which is fictionalized as Hush-Hush. It also deals with the real-life "Bloody Christmas" scandal.
The three protagonists are LAPD officers. Edmund Exley, the son of legendary detective Preston Exley, is a "straight arrow" who informs on other officers in a police brutality scandal. He is first and foremost a politician and a ladder climber. This earns the enmity of Wendell "Bud" White, an intimidating enforcer with a personal fixation on men who abuse women. Between the two of them is Jack Vincennes, who acts as more of a celebrity than a cop, who is a technical advisor on a police television show called Badge of Honor (similar to the real life show Dragnet) and provides tips to a scandal magazine. The three of them must set their differences aside to unravel the conspiracy linking the novel's events.
Film adaptation[edit]
The book was adapted for a 1997 film of the same name, directed and co-written by Curtis Hanson and starring Kevin Spacey, Russell Crowe, Guy Pearce, James Cromwell, Kim Basinger, David Strathairn and Danny DeVito. The movie was highly acclaimed. It was nominated for many Academy Award categories. Kim Basinger won both a Golden Globe and an Academy Award for Best Supporting Actress for her performance in the film. Curtis Hanson and Brian Helgeland won the Oscar's Best Writing, Screenplay Based on Material Previously Produced or Published award.
Television series[edit]
In 2003, a television pilot of L.A. Confidential was aired. However, the pilot was not picked up as a running series. The show's main actors would have been Kiefer Sutherland, Josh Hopkins, David Conrad, Pruitt Taylor Vince, Melissa George, Tom Nowicki, and Eric Roberts. The pilot is a special feature on the two-disc DVD and the Blu-ray releases of the film.
Reception[edit]
L.A. Confidential received many positive reviews. The Chicago Tribune said, "Ellroy is a master at juggling plot lines, using a stripped, spare noir style that hits like a cleaver but is honed like a scalpel." San Diego Union-Tribune was quoted saying, "Ellroy will soon be as well known as Hammett and Chandler, and L.A. CONFIDENTIAL will be the book that puts him over the top". The Associated Press said, "Always a master at painting the dark portrait, Ellroy puts down his broad brush for a sharp pen....He's stripped down the language to a hard cutting tool."[citation needed]
See also[edit]
LA Skyline Mountains2.jpgLos Angeles portal
Book collection.jpgNovels portal
Alcatel 9109HA.png1990s portal
References[edit]
External links[edit]
L.A. Confidential (2003 television pilot) at the Internet Movie Database
[hide]
v ·
t ·
e
Works by James Ellroy
Stand-alone
Brown's Requiem ·
Clandestine ·
Killer on the Road
Lloyd Hopkins Trilogy
Blood on the Moon ·
Because the Night ·
Suicide Hill
L.A. Quartet
The Black Dahlia ·
The Big Nowhere ·
L.A. Confidential ·
White Jazz
Underworld USA Trilogy
American Tabloid ·
The Cold Six Thousand ·
Blood's a Rover
The Second L.A. Quartet
Perfidia
Short story collections
Hollywood Nocturnes ·
Crime Wave ·
Destination: Morgue!
Non-fiction
My Dark Places ·
The Hilliker Curse: My Pursuit of Women
Film adaptations
Cop ·
L.A. Confidential ·
Brown's Requiem ·
The Black Dahlia
Original screenplays
Dark Blue ·
Street Kings ·
Rampart
Categories: 1950s in fiction
1990 novels
20th-century American novels
American novels adapted into films
Fictional portrayals of the Los Angeles Police Department
Novels by James Ellroy
Novels set in Los Angeles, California
Hollywood novels
Novels set in the 1950s
Navigation menu
Create account
Log in
Article
Talk
Read
Edit
View history
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikimedia Shop
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
Languages
Deutsch
Français
Bahasa Indonesia
Italiano
Bahasa Melayu
Norsk bokmål
Português
Svenska
Edit links
This page was last modified on 6 September 2014, at 09:33.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
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Powered by MediaWiki
http://en.wikipedia.org/wiki/L.A._Confidential
L.A. Confidential
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Question book-new.svg
This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2014)
This article is about James Ellroy's novel. For the film, see L.A. Confidential (film). For the book on Lance Armstrong, see L. A. Confidentiel.
L.A. Confidential
LAconfidentialcvr.jpg
First edition cover
Author
James Ellroy
Cover artist
Jacket design by Paul Gamarello
Jacket illustration by Stephen Peringer
Country
United States
Language
English
Series
L.A. Quartet
Genre
Crime fiction, noir, historical fiction
Publisher
The Mysterious Press
Publication date
June 1990
Media type
Print (hardcover & paperback) and audio cassette
Pages
496 pp (first edition, hardcover)
ISBN
ISBN 0-89296-293-3 (first edition, hardcover)
OCLC
21041119
Dewey Decimal
813/.54 20
LC Class
PS3555.L6274 L18 1990
Preceded by
The Big Nowhere (1988)
Followed by
White Jazz (1992)
L.A. Confidential (1990) is neo-noir novel by James Ellroy, and the third of his L.A. Quartet series. James Ellroy dedicated L.A. Confidential "to Mary Doherty Ellroy". The epigraph is "A glory that costs everything and means nothing—Steve Erickson."
Contents [hide]
1 Plot
2 Film adaptation
3 Television series
4 Reception
5 See also
6 References
7 External links
Plot[edit]
The story revolves around a group of LAPD officers in the early 1950s who become embroiled in a mix of sex, corruption, and murder following a mass murder at the Nite Owl coffee shop. The story eventually encompasses organized crime, political corruption, heroin trafficking, pornography, prostitution, institutional racism, and Hollywood. The title refers to the scandal magazine Confidential, which is fictionalized as Hush-Hush. It also deals with the real-life "Bloody Christmas" scandal.
The three protagonists are LAPD officers. Edmund Exley, the son of legendary detective Preston Exley, is a "straight arrow" who informs on other officers in a police brutality scandal. He is first and foremost a politician and a ladder climber. This earns the enmity of Wendell "Bud" White, an intimidating enforcer with a personal fixation on men who abuse women. Between the two of them is Jack Vincennes, who acts as more of a celebrity than a cop, who is a technical advisor on a police television show called Badge of Honor (similar to the real life show Dragnet) and provides tips to a scandal magazine. The three of them must set their differences aside to unravel the conspiracy linking the novel's events.
Film adaptation[edit]
The book was adapted for a 1997 film of the same name, directed and co-written by Curtis Hanson and starring Kevin Spacey, Russell Crowe, Guy Pearce, James Cromwell, Kim Basinger, David Strathairn and Danny DeVito. The movie was highly acclaimed. It was nominated for many Academy Award categories. Kim Basinger won both a Golden Globe and an Academy Award for Best Supporting Actress for her performance in the film. Curtis Hanson and Brian Helgeland won the Oscar's Best Writing, Screenplay Based on Material Previously Produced or Published award.
Television series[edit]
In 2003, a television pilot of L.A. Confidential was aired. However, the pilot was not picked up as a running series. The show's main actors would have been Kiefer Sutherland, Josh Hopkins, David Conrad, Pruitt Taylor Vince, Melissa George, Tom Nowicki, and Eric Roberts. The pilot is a special feature on the two-disc DVD and the Blu-ray releases of the film.
Reception[edit]
L.A. Confidential received many positive reviews. The Chicago Tribune said, "Ellroy is a master at juggling plot lines, using a stripped, spare noir style that hits like a cleaver but is honed like a scalpel." San Diego Union-Tribune was quoted saying, "Ellroy will soon be as well known as Hammett and Chandler, and L.A. CONFIDENTIAL will be the book that puts him over the top". The Associated Press said, "Always a master at painting the dark portrait, Ellroy puts down his broad brush for a sharp pen....He's stripped down the language to a hard cutting tool."[citation needed]
See also[edit]
LA Skyline Mountains2.jpgLos Angeles portal
Book collection.jpgNovels portal
Alcatel 9109HA.png1990s portal
References[edit]
External links[edit]
L.A. Confidential (2003 television pilot) at the Internet Movie Database
[hide]
v ·
t ·
e
Works by James Ellroy
Stand-alone
Brown's Requiem ·
Clandestine ·
Killer on the Road
Lloyd Hopkins Trilogy
Blood on the Moon ·
Because the Night ·
Suicide Hill
L.A. Quartet
The Black Dahlia ·
The Big Nowhere ·
L.A. Confidential ·
White Jazz
Underworld USA Trilogy
American Tabloid ·
The Cold Six Thousand ·
Blood's a Rover
The Second L.A. Quartet
Perfidia
Short story collections
Hollywood Nocturnes ·
Crime Wave ·
Destination: Morgue!
Non-fiction
My Dark Places ·
The Hilliker Curse: My Pursuit of Women
Film adaptations
Cop ·
L.A. Confidential ·
Brown's Requiem ·
The Black Dahlia
Original screenplays
Dark Blue ·
Street Kings ·
Rampart
Categories: 1950s in fiction
1990 novels
20th-century American novels
American novels adapted into films
Fictional portrayals of the Los Angeles Police Department
Novels by James Ellroy
Novels set in Los Angeles, California
Hollywood novels
Novels set in the 1950s
Navigation menu
Create account
Log in
Article
Talk
Read
Edit
View history
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikimedia Shop
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
Languages
Deutsch
Français
Bahasa Indonesia
Italiano
Bahasa Melayu
Norsk bokmål
Português
Svenska
Edit links
This page was last modified on 6 September 2014, at 09:33.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Mobile view
Wikimedia Foundation
Powered by MediaWiki
http://en.wikipedia.org/wiki/L.A._Confidential
L.A. Confidential (film)
From Wikipedia, the free encyclopedia
(Redirected from LA Confidential (film))
Jump to: navigation, search
L.A. Confidential
La confidential.jpg
Theatrical release poster
Directed by
Curtis Hanson
Produced by
Curtis Hanson
Arnon Milchan
Michael G. Nathanson
Screenplay by
Curtis Hanson
Brian Helgeland
Based on
L.A. Confidential
by James Ellroy
Starring
Kevin Spacey
Russell Crowe
Guy Pearce
Kim Basinger
Danny DeVito
Narrated by
Danny DeVito
Music by
Jerry Goldsmith
Cinematography
Dante Spinotti
Edited by
Peter Honess
Production
company
Regency Enterprises
Distributed by
Warner Bros.
Release dates
September 19, 1997
Running time
138 minutes
Country
United States
Language
English
Budget
$35 million
Box office
$126.2 million
L.A. Confidential is a 1997 neo-noir crime film based on James Ellroy's 1990 novel of the same title, the third book in his L.A. Quartet series. Like the book, the film tells the story of a group of LAPD officers in the year 1953, and the intersection of police corruption and Hollywood celebrity. The title refers to the 1950s scandal magazine Confidential, portrayed in the film as Hush-Hush. The film adaptation was produced and directed by Curtis Hanson and co-written by Hanson and Brian Helgeland.
At the time, Anglo-Australian actor Guy Pearce and New Zealand actor Russell Crowe were relatively unknown in North America, and one of the film's backers, Peter Dennett, was worried about the lack of established stars in the lead roles. However, he supported Hanson's casting decisions and this gave the director the confidence to approach Kevin Spacey, Kim Basinger and Danny DeVito.
Critically acclaimed, the film holds a 99% rating at Rotten Tomatoes, as well as an aggregated rating of 90 on Metacritic. It was nominated for nine Academy Awards, winning two: Basinger for Best Supporting Actress and Hanson and Helgeland for Best Adapted Screenplay; it lost every other category to Titanic.
Contents [hide]
1 Plot
2 Cast
3 Production 3.1 Development
3.2 Casting
3.3 Pre-production
3.4 Principal photography
3.5 Music
4 Reception 4.1 Box office
4.2 Critical response
4.3 Accolades
5 Home media
6 See also
7 References
8 Further reading
9 External links
Plot[edit]
In early 1950s Los Angeles, Sergeant Edmund "Ed" Exley (Guy Pearce), the son of a legendary LAPD detective, is determined to live up to his father's reputation. His intelligence, insistence on following regulations and cold demeanor contribute to his isolation from other officers. He exacerbates this resentment by volunteering to testify in a police brutality case, insisting on a promotion to Detective Lieutenant against the advice of Captain Dudley Smith (James Cromwell). Exley's ambition is fueled by the murder of his father by an unknown assailant, whom he refers to as "Rolo Tomassi" to give him personality.
Officer Wendell "Bud" White (Russell Crowe), whom Exley considers a "mindless thug", is a plainclothes officer obsessed with violently punishing woman-beaters. White comes to dislike Exley after White's partner, Dick Stensland, is terminated due to Exley's testimony in the Bloody Christmas scandal. White is sought out by Smith for a job in which they harass and beat up out-of-town criminals trying to fill the void left in Los Angeles following the imprisonment of Mickey Cohen for tax evasion. The Nite Owl case becomes personal after Stensland is found to be one of the victims.
Sergeant Jack Vincennes (Kevin Spacey) is a narcotics detective who moonlights as a technical advisor on Badge of Honor, a popular TV police drama series. He is connected with Sid Hudgens (Danny DeVito), publisher of the Hush-Hush tabloid magazine, receiving kickbacks for tipping Hudgens off to celebrity arrests that will attract more readers to the magazine. When actor Matt Reynolds is killed during a scheme in which he is to be caught in a homosexual tryst with the L.A. district attorney, Vincennes is determined to find his killer.
The three men individually investigate the Nite Owl killings, which initially look like a botched robbery resulting in six homicides, and concurrent events which reveal indications of corruption all around them. Exley pursues absolute justice, all the while trying to live up to his family name. White pursues Nite Owl victim Susan Lefferts, which leads him to Lynn Bracken (Kim Basinger), a Veronica Lake look-alike prostitute with ties to the case he and Exley are investigating. White falls for Bracken, who later sleeps with Exley in order to allow Hudgens to take compromising photos of him. Vincennes follows up on a pornography racket with ties to both the Nite Owl and Bracken's wealthy pimp Pierce Patchett, operator of Fleur-de-Lis, a call girl service that runs prostitutes altered by plastic surgery to resemble film stars.
Three African Americans are charged with the killings and later killed in a shootout. It is revealed that they were not the killers but gang rapists, and their Hispanic victim lied in her statement. Captain Smith was behind the Nite Owl killings, in an effort to take over the heroin empire that Mickey Cohen left behind. After killing Vincennes, Hudgens and Patchett, Smith sends hitmen to murder White and Exley. However, while killing Vincennes, Smith had asked Vincennes whether he had any last words. Vincennes replied with "Rollo Tomassi," which arouses Exley's suspicion when Smith asks Exley who that is.
White and Exley, long-time rivals, start working together as they realize the truth of Smith's agenda and that they are at risk. Following Smith's attempt to have them killed, Smith shoots White but then surrenders to Exley. As police arrive, Exley shoots Smith in the back, killing him. The LAPD cover up Smith's crimes and say he died a hero in the shootout while protecting Exley, but Exley demands that he and White be rewarded for their cooperation in the deception.
Exley is praised as a hero and receives medals for his bravery, and the Police Department launch a top-to-bottom investigation of their men. Upon leaving City Hall, Exley sees Bracken, who tells him she has quit being a prostitute and is returning home to Arizona. In the back of her car sits White, who survived his gunshot wounds but is unable to talk. Exley and White shake hands and Bracken drives off into the sunset.
Cast[edit]
Kevin Spacey as Det. Sgt. Jack Vincennes
Russell Crowe as Officer Wendell "Bud" White
Guy Pearce as Det. Lt. Edmund "Ed" Exley
James Cromwell as Capt. Dudley Smith
Kim Basinger as Lynn Bracken
Danny DeVito as Sid Hudgens
David Strathairn as Pierce Morehouse Patchett
Ron Rifkin as District Attorney Ellis Loew
Graham Beckel as Det. Richard "Dick" Stensland
Amber Smith as Susan Lefferts
John Mahon as Police Chief Worton
Paul Guilfoyle as Meyer "Mickey" Cohen
Matt McCoy as Brett Chase
Paolo Seganti as Johnny Stompanato
Simon Baker-Denny as Matt Reynolds
Shawnee Free Jones as Tammy Jordan
Darrell Sandeen as Leland "Buzz" Meeks
Marisol Padilla Sánchez as Inez Soto
Gwenda Deacon as Mrs. Lefferts
Production[edit]
Development[edit]
Curtis Hanson had read half a dozen of James Ellroy's books before L.A. Confidential and was drawn to its characters, not the plot. He said, "What hooked me on them was that, as I met them, one after the other, I didn't like them - but as I continued reading, I started to care about them."[1] Ellroy's novel also made Hanson think about Los Angeles and provided him with an opportunity to "set a movie at a point in time when the whole dream of Los Angeles, from that apparently golden era of the '20s and '30s, was being bulldozed."[1] Screenwriter Brian Helgeland was originally signed to Warner Bros. to write a Viking film with director Uli Edel and then worked on an unproduced modern-day King Arthur story. Helgeland was a long-time fan of Ellroy's novels. When he heard that Warner Bros. had acquired the rights to L.A. Confidential in 1990, he lobbied to script the film.[1] However, at the time, the studio was only talking to well-known screenwriters. When he finally did get a meeting, it was canceled two days before it was to occur.[1]
Helgeland found that Hanson had been hired to direct and met with him while the filmmaker was making The River Wild. They found that they not only shared a love for Ellroy's fiction but also agreed on how to adapt Confidential into a film. According to Helgeland, they had to "remove every scene from the book that didn't have the three main cops in it, and then to work from those scenes out."[1] According to Hanson, he "wanted the audience to be challenged but at the same time I didn't want them to get lost".[2] They worked on the script together for two years, with Hanson turning down jobs and Helgeland writing seven drafts for free.[1] The two men also got Ellroy's approval of their approach. He had seen Hanson's films, The Bedroom Window and Bad Influence and found him to be "a competent and interesting storyteller", but was not convinced that his book would be made into a film until he talked to the eventual director.[1] He later said, "They preserved the basic integrity of the book and its main theme. Brian and Curtis took a work of fiction that had eight plotlines, reduced those to three, and retained the dramatic force of three men working out their destiny."[1]
Warner executive Bill Gerber showed the script to Michael Nathanson, CEO of New Regency Productions, which had a deal with the studio. Nathanson loved it, but they had to get the approval from the owner of New Regency, Arnon Milchan. Hanson prepared a presentation that consisted of 15 vintage postcards and pictures of L.A. mounted on posterboards, and made his pitch to Milchan. The pictures consisted of orange groves, beaches, tract homes in the San Fernando Valley, and the opening of the Hollywood Freeway to symbolize the image of prosperity sold to the public.[1]
Then, Hanson showed the darker side of Ellroy's novel with the cover of scandal rag Confidential and the famous shot of Robert Mitchum coming out of jail after his marijuana bust. He also had photographs of jazz musicians Zoot Sims, Gerry Mulligan, and Chet Baker to represent the popular music people of the time.[1] Hanson emphasized that the period detail would be in the background and the characters in the foreground. Milchan was impressed with his presentation and agreed to finance it.
Casting[edit]
Hanson had seen Russell Crowe in Romper Stomper and found him "repulsive and scary, but captivating".[1] The actor had read Ellroy's The Black Dahlia but not L.A. Confidential. When he read the script, Crowe was drawn to Bud White's "self-righteous moral crusade".[3] Crowe fit the visual preconception of Bud. Hanson put the actor on tape doing a few scenes from the script and showed it to the film's producers, who agreed to cast him as Bud.[4] Guy Pearce auditioned like countless other actors, and Hanson felt that he "was very much what I had in mind for Ed Exley."[1] The director purposely did not watch the actor in The Adventures of Priscilla, Queen of the Desert, afraid that it might influence his decision.[4] As he did with Crowe, Hanson taped Pearce and showed it to the producers, who agreed he should be cast as Ed. Pearce did not like Ed when he first read the screenplay and remarked, "I was pretty quick to judge him and dislike him for being so self-righteous ... But I liked how honest he became about himself. I knew I could grow to respect and understand him."[5]
Milchan was against casting "two Australians" in the American period piece (Pearce wryly commented in a later interview that while both he and Crowe grew up in Australia, he is British by birth, while Crowe is a New Zealander). Besides their national origins, both Crowe and Pearce were relative unknowns in North America, and Milchan was equally worried about the lack of film stars in the lead roles.[1]
However, Milchan supported Hanson's casting decisions and this gave the director the confidence to approach Kim Basinger, Danny DeVito and Kevin Spacey. Hanson cast Crowe and Pearce because he wanted to "replicate my experience of the book. You don't like any of these characters at first, but the deeper you get into their story, the more you begin to sympathize with them. I didn't want actors audiences knew and already liked."[6]
Hanson felt that the character of Jack Vincennes was "a movie star among cops", and thought of Spacey, with his "movie-star charisma," casting him specifically against type.[4] The director was confident that the actor "could play the man behind that veneer, the man who also lost his soul," and when he gave him the script, he told him to think of Dean Martin while in the role.[4] Hanson cast Basinger because he felt that she "was the character to me. What beauty today could project the glamor of Hollywood's golden age?"[6]
Pre-production[edit]
To give his cast and crew points and counterpoints to capture Los Angeles in the 1950s, he held a "mini-film festival," showing one film a week: The Bad and the Beautiful, because it epitomized the glamorous Hollywood look; In a Lonely Place, because it revealed the ugly underbelly of Hollywood glamor; Don Siegel's The Lineup and Private Hell 36, "for their lean and efficient style";[4] and Kiss Me Deadly, because it was "so rooted in the futuristic '50s: the atomic age."[1][4] Hanson and the film's cinematographer Dante Spinotti agreed that the film would be shot widescreen, and studied two Cinemascope films from the period: Douglas Sirk's The Tarnished Angels and Vincente Minnelli's Some Came Running.
Before filming took place, Hanson brought Crowe and Pearce to Los Angeles for two months to immerse them in the city and the time period.[6] He also got them dialect coaches, showed them vintage police training films, and introduced them to real-life cops.[6] Pearce found the contemporary police force had changed too much to be useful research material and disliked the police officer he rode along with because he was racist.[7] The actor found the police films more valuable because "there was a real sort of stiffness, a woodenness about these people" that he felt Exley had as well.[6] Crowe studied Sterling Hayden in Stanley Kubrick's The Killing "for that beefy manliness that came out of World War II".[4] For six weeks, Crowe, Pearce, Hanson and Helgeland conducted rehearsals, which consisted of their discussing each scene in the script.[8] As other actors were cast they would join in the rehearsals.[4]
Principal photography[edit]
Hanson did not want the film to be an exercise in nostalgia, and so had Spinotti shoot it like a contemporary film, and use more naturalistic lighting than in a classic film noir.[9] He told Spinotti and the film's production designer Jeannine Oppewall to pay great attention to period detail, but to then "put it all in the background".[4]
Music[edit]
Main article: L.A. Confidential (soundtrack)
Jerry Goldsmith's score for the film was nominated for the Academy Award for Best Original Dramatic Score, but lost to James Horner's score for Titanic.[10]
Reception[edit]
The film was screened at the 1997 Cannes Film Festival.[11] According to Hanson, Warner did not want it shown at Cannes, because they felt that there was an "anti-studio bias ... So why go and come home a loser?"[4] However, Hanson wanted to debut the film at a high-profile, international venue like Cannes. He and other producers bypassed the studio and sent a print directly to the festival's selection committee, which loved it.[9] Ellroy saw the film and said, "I understood in 40 minutes or so that it is a work of art on its own level. It was amazing to see the physical incarnation of the characters."[1]
Box office[edit]
L.A. Confidential was released on September 19, 1997 in 769 theaters, grossing $5.2 million on its opening weekend. On October 3, it was given an expanded release in 1,625 theaters. It went on to make $64.6 million in North America and $61.6 million in the rest of the world, for a worldwide total of $126.2 million.[12]
Critical response[edit]
L.A. Confidential scored very high with critics, presently sporting a rare 99% "Certified Fresh" approval rating at Rotten Tomatoes with 107 out of 108 reviews being positive. The site's critical consensus states, "Taut pacing, brilliantly dense writing and Oscar-worthy acting combine to produce a smart, popcorn-friendly thrill ride." On Metacritic the film received a score of 90 out of 100, based on 28 critics, indicating "universal acclaim".
Film critic Roger Ebert gave the film four out of four stars and described it as "seductive and beautiful, cynical and twisted, and one of the best films of the year."[13] Later, he included it as one of his "Great Movies" and described it as "film noir, and so it is, but it is more: Unusually for a crime film, it deals with the psychology of the characters ... It contains all the elements of police action, but in a sharply clipped, more economical style; the action exists not for itself but to provide an arena for the personalities".[14] In her review for The New York Times, Janet Maslin wrote, "Mr. Spacey is at his insinuating best, languid and debonair, in a much more offbeat performance than this film could have drawn from a more conventional star. And the two Australian actors, tightly wound Mr. Pearce and fiery, brawny Mr. Crowe, qualify as revelations."[15] Desson Howe, in his review for The Washington Post, praised the cast: "Pearce makes a wonderful prude who gets progressively tougher and more jaded. New Zealand-born Crowe has a unique and sexy toughness; imagine Mickey Rourke without the attitude. Although she's playing a stock character, Basinger exudes a sort of chaste sultriness. Spacey is always enjoyable."[16]
In his review for The Globe and Mail, Liam Lacey wrote, "The big star is Los Angeles itself. Like Roman Polanski's depiction of Los Angeles in the '30s in Chinatown, the atmosphere and detailed production design are a rich gel where the strands of narrative form."[17] USA Today gave the film three and a half stars out of four, saying of the screenplay, "It appears as if screenwriters Brian Helgeland and Curtis Hanson have pulled off a miracle in keeping multiple stories straight. Have they ever. Ellroy's novel has four extra layers of plot and three times as many characters ... the writers have trimmed unwieldy muscle, not just fat, and gotten away with it."[18] In his review for Newsweek, David Ansen wrote, "L.A. Confidential asks the audience to raise its level a bit, too—you actually have to pay attention to follow the double-crossing intricacies of the plot. The reward for your work is dark and dirty fun."[19] Richard Schickel, in his review for Time, wrote, "It's a movie of shadows and half lights, the best approximation of the old black-and-white noir look anyone has yet managed on color stock. But it's no idle exercise in style. The film's look suggests how deep the tradition of police corruption runs."[20]
In his review for The New York Observer, Andrew Sarris wrote, "Mr. Crowe strikes the deepest registers with the tortured character of Bud White, a part that has had less cut out of it from the book than either Mr. Spacey's or Mr. Pearce's ... but Mr. Crowe at moments reminded me of James Cagney's poignant performance in Charles Vidor's Love Me or Leave Me (1955), and I can think of no higher praise."[21] Kenneth Turan, in his review for Los Angeles Times, wrote, "The only potential audience drawback L.A. Confidential has is its reliance on unsettling bursts of violence, both bloody shootings and intense physical beatings that give the picture a palpable air of menace. Overriding that, finally, is the film's complete command of its material."[22] In his review for The Independent, Ryan Gilbey wrote, "In fact, it's a very well made and intelligent picture, assembled with an attention to detail, both in plot and characterisation, that you might have feared was all but extinct in mainstream American cinema."[23] Richard Williams, in his review for The Guardian, wrote, "L.A. Confidential gets just about everything right. The light, the architecture, the slang, the music ... a wonderful Lana Turner joke. A sense, above all, of damaged people arriving to make new lives and getting seduced by the scent of night-blooming jasmine, the perfume of corruption."[24]
Accolades[edit]
L.A. Confidential was nominated for nine Academy Awards and won two, Kim Basinger for Best Actress in a Supporting Role and Curtis Hanson and Brian Helgeland for Best Writing (Adapted Screenplay). It was also nominated for Best Picture, Best Director, Best Production Design, Best Cinematography, Best Film Editing, Best Original Dramatic Score and Best Sound Mixing (Andy Nelson, Anna Behlmer and Kirk Francis), but lost all the categories to Titanic.[25][26] Basinger tied for the Award for Outstanding Performance by a Female Actor in a Supporting Role - Motion Picture with Gloria Stuart from Titanic at the 4th Annual Screen Actors Guild Awards.[27]
Time magazine ranked L.A. Confidential as the best film of 1997.[28] The National Society of Film Critics also ranked it as the year's best film and Curtis Hanson was voted Best Director.[29] The New York Film Critics Circle also voted L.A. Confidential as the year's best film in addition to ranking Hanson as best director, and he and Brian Helgeland with the best screenplay.[30] The Los Angeles Film Critics Association and the National Board of Review of Motion Pictures also voted L.A. Confidential as the year's best film. As a result, it is only the third film to sweep the "Big Four" critics awards.[29]
It was also voted as the best film set in Los Angeles in the last 25 years by a group of Los Angeles Times writers and editors with two criteria: "The movie had to communicate some inherent truth about the L.A. experience, and only one film per director was allowed on the list."[31] In 2009, the London Film Critics' Circle voted L.A. Confidential one of the best films of the last 30 years.[32]
American Film Institute
AFI's 100 Years...100 Movies—Nominated[33]
AFI's 100 Years...100 Thrills – Nominated[34]
AFI's 100 Years...100 Movies (10th Anniversary Edition)—Nominated[35]
Home media[edit]
A DVD was released April 21, 1998. In addition to the film, it included two featurettes, an interactive map of Los Angeles, a music-only track, a theatrical trailer, and three TV spots.[36]
A two-disc Special Edition was released on DVD and Blu-ray on September 23, 2008.[37] Both sets contain the same bonus content. In addition to the features from the original DVD, included are four new featurettes, the 1999 pilot of the proposed TV series starring Kiefer Sutherland, and film commentary by critic/historian Andrew Sarris, James Ellroy, Russell Crowe, Kevin Spacey, Guy Pearce, James Cromwell, Ruth Myers, David Strathairn, Kim Basinger, Brian Helgeland, Jeannine Oppewall, Dante Spinotti and Danny DeVito. Some sets included a six-song sampler from the film's soundtrack.[36]
See also[edit]
Portal icon Los Angeles portal
Portal icon Film in the United States portal
Portal icon 1990s portal
References[edit]
1.^ Jump up to: a b c d e f g h i j k l m n o Sragow, Michael (September 11, 1997). "City of Angles". Dallas Observer.
2.Jump up ^ Dawson, Jeff (December 1997). "Mean Streets". Empire.
3.Jump up ^ Smith, Adam (December 1997). "The Nearly Man...". Empire.
4.^ Jump up to: a b c d e f g h i j Taubin, Amy (November 1997). "L.A. Lurid". Sight & Sound.
5.Jump up ^ Kempley, Rita (September 21, 1997). "Guy Pearce Cuts Through the Chase". The Washington Post.
6.^ Jump up to: a b c d e Veniere, James (September 14, 1997). "Director of L.A. Confidential Hits Stride". Boston Herald.
7.Jump up ^ Hemblade, Christopher (December 1997). "Breaking the Mould...". Empire.
8.Jump up ^ Arnold, Gary (September 21, 1997). "Casting for L.A. Confidential went in unexpected direction". The Washington Times. pp. D3.
9.^ Jump up to: a b Taubin, Amy (September 23, 1997). "Confidentially Speaking: Curtis Hanson Makes a Studio-Indie Hybrid". The Village Voice.
10.Jump up ^ http://www.oscars.org/awards/academyawards/oscarlegacy/1990-1999/70nominees.html
11.Jump up ^ "Festival de Cannes: L.A. Confidential". festival-cannes.com. Retrieved 2009-09-22.
12.Jump up ^ "L.A. Confidential". Box Office Mojo. Retrieved 2009-01-07.
13.Jump up ^ Ebert, Roger (September 19, 1997). "L.A. Confidential". Chicago Sun-Times. Retrieved 2009-01-07.
14.Jump up ^ Ebert, Roger (September 4, 2008). "Great Movies: L.A. Confidential". Chicago Sun-Times. Retrieved 2009-01-07.
15.Jump up ^ Maslin, Janet (September 19, 1997). "The Dark Underbelly of a Sunny Town". The New York Times. Retrieved 2009-01-07.
16.Jump up ^ Howe, Desson (September 19, 1997). "Noir Confidential: A Clever Case". The Washington Post.
17.Jump up ^ Lacey, Liam (September 19, 1997). "L.A. Confidential". The Globe and Mail. pp. C1.
18.Jump up ^ Clark, Mike (September 19, 1997). "Cool L.A. Confidential: Classic film noir to the core". USA Today. pp. 1D.
19.Jump up ^ Ansen, David (September 22, 1997). "Noir Kind of Town". Newsweek. p. 83.
20.Jump up ^ Schickel, Richard (September 15, 1997). "Three L.A. Cops, One Philip Marlowe". Time. Retrieved 2009-01-07.
21.Jump up ^ Sarris, Andrew (September 28, 1997). "Confidentially Speaking, Noir's Gone Hollywood". The New York Observer. Retrieved 2009-01-07.
22.Jump up ^ Turan, Kenneth (September 19, 1997). "L.A. Confidential". Los Angeles Times. Retrieved 2009-01-07.[dead link]
23.Jump up ^ Gilbey, Ryan (October 31, 1997). "Thugs, pigs and paparazzi in Fifties LA". The Independent. p. 8.
24.Jump up ^ Williams, Richard (October 31, 1997). "LAPD blue". The Guardian. p. 6.
25.Jump up ^ "The 70th Academy Awards (1998) Nominees and Winners". oscars.org. Retrieved 2011-11-19.
26.Jump up ^ Weinraub, Bernard (March 24, 1998). "Titanic Ties Record With 11 Oscars, Including Best Picture". The New York Times. Retrieved 2009-01-07.
27.Jump up ^ Van Gelder, Lawrence (March 10, 1998). "Footlights". The New York Times. Retrieved 2009-01-07.
28.Jump up ^ "The Best Cinema of 1997". Time. December 29, 1997. Retrieved 2009-01-07.
29.^ Jump up to: a b Lyman, Rick (January 5, 1998). "L.A. Confidential Wins National Critics' Awards". The New York Times. Retrieved 2009-01-07.
30.Jump up ^ Maslin, Janet (December 12, 1998). "L.A. Confidential Wins Critics Circle Award". The New York Times. Retrieved 2009-01-07.
31.Jump up ^ Boucher, Geoff (August 31, 2008). "The 25 best L.A. films of the last 25 years". Los Angeles Times. Retrieved 2008-08-31.
32.Jump up ^ Child, Ben (December 1, 2009). "Apocalypse Now tops London critics' 30th anniversary poll". The Guardian. Retrieved 2009-12-02.
33.Jump up ^ AFI's 100 Years...100 Movies Nominees
34.Jump up ^ AFI's 100 Years...100 Thrills Nominees
35.Jump up ^ AFI's 100 Years...100 Movies (10th Anniversary Edition) Ballot
36.^ Jump up to: a b Spurlin, Thomas (23 September 2008). "L.A. Confidential: Two-Disc Special Edition". DVD Talk. Retrieved 11 March 2014.
37.Jump up ^ "L.A. Confidential Two-Disc Special Edition". Business Wire. June 16, 2008. Retrieved 2008-06-17.
Further reading[edit]
Dargis, Manohla (2003). L.A. Confidential. BFI Modern Classics. British Film Institute. ISBN 0-85170-944-3.
External links[edit]
Wikiquote has quotations related to: L.A. Confidential
L.A. Confidential at the Internet Movie Database
L.A Confidential (2003 television pilot) at the Internet Movie Database
L.A. Confidential at the TCM Movie Database
L.A. Confidential at AllMovie
L.A. Confidential at Rotten Tomatoes
L.A. Confidential at Metacritic
Press Conference at the Toronto International Film Festival
L.A. Confidential Shooting Locations
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Categories: 1997 films
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http://en.wikipedia.org/wiki/L.A._Confidential_(film)
L.A. Confidential (film)
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L.A. Confidential
La confidential.jpg
Theatrical release poster
Directed by
Curtis Hanson
Produced by
Curtis Hanson
Arnon Milchan
Michael G. Nathanson
Screenplay by
Curtis Hanson
Brian Helgeland
Based on
L.A. Confidential
by James Ellroy
Starring
Kevin Spacey
Russell Crowe
Guy Pearce
Kim Basinger
Danny DeVito
Narrated by
Danny DeVito
Music by
Jerry Goldsmith
Cinematography
Dante Spinotti
Edited by
Peter Honess
Production
company
Regency Enterprises
Distributed by
Warner Bros.
Release dates
September 19, 1997
Running time
138 minutes
Country
United States
Language
English
Budget
$35 million
Box office
$126.2 million
L.A. Confidential is a 1997 neo-noir crime film based on James Ellroy's 1990 novel of the same title, the third book in his L.A. Quartet series. Like the book, the film tells the story of a group of LAPD officers in the year 1953, and the intersection of police corruption and Hollywood celebrity. The title refers to the 1950s scandal magazine Confidential, portrayed in the film as Hush-Hush. The film adaptation was produced and directed by Curtis Hanson and co-written by Hanson and Brian Helgeland.
At the time, Anglo-Australian actor Guy Pearce and New Zealand actor Russell Crowe were relatively unknown in North America, and one of the film's backers, Peter Dennett, was worried about the lack of established stars in the lead roles. However, he supported Hanson's casting decisions and this gave the director the confidence to approach Kevin Spacey, Kim Basinger and Danny DeVito.
Critically acclaimed, the film holds a 99% rating at Rotten Tomatoes, as well as an aggregated rating of 90 on Metacritic. It was nominated for nine Academy Awards, winning two: Basinger for Best Supporting Actress and Hanson and Helgeland for Best Adapted Screenplay; it lost every other category to Titanic.
Contents [hide]
1 Plot
2 Cast
3 Production 3.1 Development
3.2 Casting
3.3 Pre-production
3.4 Principal photography
3.5 Music
4 Reception 4.1 Box office
4.2 Critical response
4.3 Accolades
5 Home media
6 See also
7 References
8 Further reading
9 External links
Plot[edit]
In early 1950s Los Angeles, Sergeant Edmund "Ed" Exley (Guy Pearce), the son of a legendary LAPD detective, is determined to live up to his father's reputation. His intelligence, insistence on following regulations and cold demeanor contribute to his isolation from other officers. He exacerbates this resentment by volunteering to testify in a police brutality case, insisting on a promotion to Detective Lieutenant against the advice of Captain Dudley Smith (James Cromwell). Exley's ambition is fueled by the murder of his father by an unknown assailant, whom he refers to as "Rolo Tomassi" to give him personality.
Officer Wendell "Bud" White (Russell Crowe), whom Exley considers a "mindless thug", is a plainclothes officer obsessed with violently punishing woman-beaters. White comes to dislike Exley after White's partner, Dick Stensland, is terminated due to Exley's testimony in the Bloody Christmas scandal. White is sought out by Smith for a job in which they harass and beat up out-of-town criminals trying to fill the void left in Los Angeles following the imprisonment of Mickey Cohen for tax evasion. The Nite Owl case becomes personal after Stensland is found to be one of the victims.
Sergeant Jack Vincennes (Kevin Spacey) is a narcotics detective who moonlights as a technical advisor on Badge of Honor, a popular TV police drama series. He is connected with Sid Hudgens (Danny DeVito), publisher of the Hush-Hush tabloid magazine, receiving kickbacks for tipping Hudgens off to celebrity arrests that will attract more readers to the magazine. When actor Matt Reynolds is killed during a scheme in which he is to be caught in a homosexual tryst with the L.A. district attorney, Vincennes is determined to find his killer.
The three men individually investigate the Nite Owl killings, which initially look like a botched robbery resulting in six homicides, and concurrent events which reveal indications of corruption all around them. Exley pursues absolute justice, all the while trying to live up to his family name. White pursues Nite Owl victim Susan Lefferts, which leads him to Lynn Bracken (Kim Basinger), a Veronica Lake look-alike prostitute with ties to the case he and Exley are investigating. White falls for Bracken, who later sleeps with Exley in order to allow Hudgens to take compromising photos of him. Vincennes follows up on a pornography racket with ties to both the Nite Owl and Bracken's wealthy pimp Pierce Patchett, operator of Fleur-de-Lis, a call girl service that runs prostitutes altered by plastic surgery to resemble film stars.
Three African Americans are charged with the killings and later killed in a shootout. It is revealed that they were not the killers but gang rapists, and their Hispanic victim lied in her statement. Captain Smith was behind the Nite Owl killings, in an effort to take over the heroin empire that Mickey Cohen left behind. After killing Vincennes, Hudgens and Patchett, Smith sends hitmen to murder White and Exley. However, while killing Vincennes, Smith had asked Vincennes whether he had any last words. Vincennes replied with "Rollo Tomassi," which arouses Exley's suspicion when Smith asks Exley who that is.
White and Exley, long-time rivals, start working together as they realize the truth of Smith's agenda and that they are at risk. Following Smith's attempt to have them killed, Smith shoots White but then surrenders to Exley. As police arrive, Exley shoots Smith in the back, killing him. The LAPD cover up Smith's crimes and say he died a hero in the shootout while protecting Exley, but Exley demands that he and White be rewarded for their cooperation in the deception.
Exley is praised as a hero and receives medals for his bravery, and the Police Department launch a top-to-bottom investigation of their men. Upon leaving City Hall, Exley sees Bracken, who tells him she has quit being a prostitute and is returning home to Arizona. In the back of her car sits White, who survived his gunshot wounds but is unable to talk. Exley and White shake hands and Bracken drives off into the sunset.
Cast[edit]
Kevin Spacey as Det. Sgt. Jack Vincennes
Russell Crowe as Officer Wendell "Bud" White
Guy Pearce as Det. Lt. Edmund "Ed" Exley
James Cromwell as Capt. Dudley Smith
Kim Basinger as Lynn Bracken
Danny DeVito as Sid Hudgens
David Strathairn as Pierce Morehouse Patchett
Ron Rifkin as District Attorney Ellis Loew
Graham Beckel as Det. Richard "Dick" Stensland
Amber Smith as Susan Lefferts
John Mahon as Police Chief Worton
Paul Guilfoyle as Meyer "Mickey" Cohen
Matt McCoy as Brett Chase
Paolo Seganti as Johnny Stompanato
Simon Baker-Denny as Matt Reynolds
Shawnee Free Jones as Tammy Jordan
Darrell Sandeen as Leland "Buzz" Meeks
Marisol Padilla Sánchez as Inez Soto
Gwenda Deacon as Mrs. Lefferts
Production[edit]
Development[edit]
Curtis Hanson had read half a dozen of James Ellroy's books before L.A. Confidential and was drawn to its characters, not the plot. He said, "What hooked me on them was that, as I met them, one after the other, I didn't like them - but as I continued reading, I started to care about them."[1] Ellroy's novel also made Hanson think about Los Angeles and provided him with an opportunity to "set a movie at a point in time when the whole dream of Los Angeles, from that apparently golden era of the '20s and '30s, was being bulldozed."[1] Screenwriter Brian Helgeland was originally signed to Warner Bros. to write a Viking film with director Uli Edel and then worked on an unproduced modern-day King Arthur story. Helgeland was a long-time fan of Ellroy's novels. When he heard that Warner Bros. had acquired the rights to L.A. Confidential in 1990, he lobbied to script the film.[1] However, at the time, the studio was only talking to well-known screenwriters. When he finally did get a meeting, it was canceled two days before it was to occur.[1]
Helgeland found that Hanson had been hired to direct and met with him while the filmmaker was making The River Wild. They found that they not only shared a love for Ellroy's fiction but also agreed on how to adapt Confidential into a film. According to Helgeland, they had to "remove every scene from the book that didn't have the three main cops in it, and then to work from those scenes out."[1] According to Hanson, he "wanted the audience to be challenged but at the same time I didn't want them to get lost".[2] They worked on the script together for two years, with Hanson turning down jobs and Helgeland writing seven drafts for free.[1] The two men also got Ellroy's approval of their approach. He had seen Hanson's films, The Bedroom Window and Bad Influence and found him to be "a competent and interesting storyteller", but was not convinced that his book would be made into a film until he talked to the eventual director.[1] He later said, "They preserved the basic integrity of the book and its main theme. Brian and Curtis took a work of fiction that had eight plotlines, reduced those to three, and retained the dramatic force of three men working out their destiny."[1]
Warner executive Bill Gerber showed the script to Michael Nathanson, CEO of New Regency Productions, which had a deal with the studio. Nathanson loved it, but they had to get the approval from the owner of New Regency, Arnon Milchan. Hanson prepared a presentation that consisted of 15 vintage postcards and pictures of L.A. mounted on posterboards, and made his pitch to Milchan. The pictures consisted of orange groves, beaches, tract homes in the San Fernando Valley, and the opening of the Hollywood Freeway to symbolize the image of prosperity sold to the public.[1]
Then, Hanson showed the darker side of Ellroy's novel with the cover of scandal rag Confidential and the famous shot of Robert Mitchum coming out of jail after his marijuana bust. He also had photographs of jazz musicians Zoot Sims, Gerry Mulligan, and Chet Baker to represent the popular music people of the time.[1] Hanson emphasized that the period detail would be in the background and the characters in the foreground. Milchan was impressed with his presentation and agreed to finance it.
Casting[edit]
Hanson had seen Russell Crowe in Romper Stomper and found him "repulsive and scary, but captivating".[1] The actor had read Ellroy's The Black Dahlia but not L.A. Confidential. When he read the script, Crowe was drawn to Bud White's "self-righteous moral crusade".[3] Crowe fit the visual preconception of Bud. Hanson put the actor on tape doing a few scenes from the script and showed it to the film's producers, who agreed to cast him as Bud.[4] Guy Pearce auditioned like countless other actors, and Hanson felt that he "was very much what I had in mind for Ed Exley."[1] The director purposely did not watch the actor in The Adventures of Priscilla, Queen of the Desert, afraid that it might influence his decision.[4] As he did with Crowe, Hanson taped Pearce and showed it to the producers, who agreed he should be cast as Ed. Pearce did not like Ed when he first read the screenplay and remarked, "I was pretty quick to judge him and dislike him for being so self-righteous ... But I liked how honest he became about himself. I knew I could grow to respect and understand him."[5]
Milchan was against casting "two Australians" in the American period piece (Pearce wryly commented in a later interview that while both he and Crowe grew up in Australia, he is British by birth, while Crowe is a New Zealander). Besides their national origins, both Crowe and Pearce were relative unknowns in North America, and Milchan was equally worried about the lack of film stars in the lead roles.[1]
However, Milchan supported Hanson's casting decisions and this gave the director the confidence to approach Kim Basinger, Danny DeVito and Kevin Spacey. Hanson cast Crowe and Pearce because he wanted to "replicate my experience of the book. You don't like any of these characters at first, but the deeper you get into their story, the more you begin to sympathize with them. I didn't want actors audiences knew and already liked."[6]
Hanson felt that the character of Jack Vincennes was "a movie star among cops", and thought of Spacey, with his "movie-star charisma," casting him specifically against type.[4] The director was confident that the actor "could play the man behind that veneer, the man who also lost his soul," and when he gave him the script, he told him to think of Dean Martin while in the role.[4] Hanson cast Basinger because he felt that she "was the character to me. What beauty today could project the glamor of Hollywood's golden age?"[6]
Pre-production[edit]
To give his cast and crew points and counterpoints to capture Los Angeles in the 1950s, he held a "mini-film festival," showing one film a week: The Bad and the Beautiful, because it epitomized the glamorous Hollywood look; In a Lonely Place, because it revealed the ugly underbelly of Hollywood glamor; Don Siegel's The Lineup and Private Hell 36, "for their lean and efficient style";[4] and Kiss Me Deadly, because it was "so rooted in the futuristic '50s: the atomic age."[1][4] Hanson and the film's cinematographer Dante Spinotti agreed that the film would be shot widescreen, and studied two Cinemascope films from the period: Douglas Sirk's The Tarnished Angels and Vincente Minnelli's Some Came Running.
Before filming took place, Hanson brought Crowe and Pearce to Los Angeles for two months to immerse them in the city and the time period.[6] He also got them dialect coaches, showed them vintage police training films, and introduced them to real-life cops.[6] Pearce found the contemporary police force had changed too much to be useful research material and disliked the police officer he rode along with because he was racist.[7] The actor found the police films more valuable because "there was a real sort of stiffness, a woodenness about these people" that he felt Exley had as well.[6] Crowe studied Sterling Hayden in Stanley Kubrick's The Killing "for that beefy manliness that came out of World War II".[4] For six weeks, Crowe, Pearce, Hanson and Helgeland conducted rehearsals, which consisted of their discussing each scene in the script.[8] As other actors were cast they would join in the rehearsals.[4]
Principal photography[edit]
Hanson did not want the film to be an exercise in nostalgia, and so had Spinotti shoot it like a contemporary film, and use more naturalistic lighting than in a classic film noir.[9] He told Spinotti and the film's production designer Jeannine Oppewall to pay great attention to period detail, but to then "put it all in the background".[4]
Music[edit]
Main article: L.A. Confidential (soundtrack)
Jerry Goldsmith's score for the film was nominated for the Academy Award for Best Original Dramatic Score, but lost to James Horner's score for Titanic.[10]
Reception[edit]
The film was screened at the 1997 Cannes Film Festival.[11] According to Hanson, Warner did not want it shown at Cannes, because they felt that there was an "anti-studio bias ... So why go and come home a loser?"[4] However, Hanson wanted to debut the film at a high-profile, international venue like Cannes. He and other producers bypassed the studio and sent a print directly to the festival's selection committee, which loved it.[9] Ellroy saw the film and said, "I understood in 40 minutes or so that it is a work of art on its own level. It was amazing to see the physical incarnation of the characters."[1]
Box office[edit]
L.A. Confidential was released on September 19, 1997 in 769 theaters, grossing $5.2 million on its opening weekend. On October 3, it was given an expanded release in 1,625 theaters. It went on to make $64.6 million in North America and $61.6 million in the rest of the world, for a worldwide total of $126.2 million.[12]
Critical response[edit]
L.A. Confidential scored very high with critics, presently sporting a rare 99% "Certified Fresh" approval rating at Rotten Tomatoes with 107 out of 108 reviews being positive. The site's critical consensus states, "Taut pacing, brilliantly dense writing and Oscar-worthy acting combine to produce a smart, popcorn-friendly thrill ride." On Metacritic the film received a score of 90 out of 100, based on 28 critics, indicating "universal acclaim".
Film critic Roger Ebert gave the film four out of four stars and described it as "seductive and beautiful, cynical and twisted, and one of the best films of the year."[13] Later, he included it as one of his "Great Movies" and described it as "film noir, and so it is, but it is more: Unusually for a crime film, it deals with the psychology of the characters ... It contains all the elements of police action, but in a sharply clipped, more economical style; the action exists not for itself but to provide an arena for the personalities".[14] In her review for The New York Times, Janet Maslin wrote, "Mr. Spacey is at his insinuating best, languid and debonair, in a much more offbeat performance than this film could have drawn from a more conventional star. And the two Australian actors, tightly wound Mr. Pearce and fiery, brawny Mr. Crowe, qualify as revelations."[15] Desson Howe, in his review for The Washington Post, praised the cast: "Pearce makes a wonderful prude who gets progressively tougher and more jaded. New Zealand-born Crowe has a unique and sexy toughness; imagine Mickey Rourke without the attitude. Although she's playing a stock character, Basinger exudes a sort of chaste sultriness. Spacey is always enjoyable."[16]
In his review for The Globe and Mail, Liam Lacey wrote, "The big star is Los Angeles itself. Like Roman Polanski's depiction of Los Angeles in the '30s in Chinatown, the atmosphere and detailed production design are a rich gel where the strands of narrative form."[17] USA Today gave the film three and a half stars out of four, saying of the screenplay, "It appears as if screenwriters Brian Helgeland and Curtis Hanson have pulled off a miracle in keeping multiple stories straight. Have they ever. Ellroy's novel has four extra layers of plot and three times as many characters ... the writers have trimmed unwieldy muscle, not just fat, and gotten away with it."[18] In his review for Newsweek, David Ansen wrote, "L.A. Confidential asks the audience to raise its level a bit, too—you actually have to pay attention to follow the double-crossing intricacies of the plot. The reward for your work is dark and dirty fun."[19] Richard Schickel, in his review for Time, wrote, "It's a movie of shadows and half lights, the best approximation of the old black-and-white noir look anyone has yet managed on color stock. But it's no idle exercise in style. The film's look suggests how deep the tradition of police corruption runs."[20]
In his review for The New York Observer, Andrew Sarris wrote, "Mr. Crowe strikes the deepest registers with the tortured character of Bud White, a part that has had less cut out of it from the book than either Mr. Spacey's or Mr. Pearce's ... but Mr. Crowe at moments reminded me of James Cagney's poignant performance in Charles Vidor's Love Me or Leave Me (1955), and I can think of no higher praise."[21] Kenneth Turan, in his review for Los Angeles Times, wrote, "The only potential audience drawback L.A. Confidential has is its reliance on unsettling bursts of violence, both bloody shootings and intense physical beatings that give the picture a palpable air of menace. Overriding that, finally, is the film's complete command of its material."[22] In his review for The Independent, Ryan Gilbey wrote, "In fact, it's a very well made and intelligent picture, assembled with an attention to detail, both in plot and characterisation, that you might have feared was all but extinct in mainstream American cinema."[23] Richard Williams, in his review for The Guardian, wrote, "L.A. Confidential gets just about everything right. The light, the architecture, the slang, the music ... a wonderful Lana Turner joke. A sense, above all, of damaged people arriving to make new lives and getting seduced by the scent of night-blooming jasmine, the perfume of corruption."[24]
Accolades[edit]
L.A. Confidential was nominated for nine Academy Awards and won two, Kim Basinger for Best Actress in a Supporting Role and Curtis Hanson and Brian Helgeland for Best Writing (Adapted Screenplay). It was also nominated for Best Picture, Best Director, Best Production Design, Best Cinematography, Best Film Editing, Best Original Dramatic Score and Best Sound Mixing (Andy Nelson, Anna Behlmer and Kirk Francis), but lost all the categories to Titanic.[25][26] Basinger tied for the Award for Outstanding Performance by a Female Actor in a Supporting Role - Motion Picture with Gloria Stuart from Titanic at the 4th Annual Screen Actors Guild Awards.[27]
Time magazine ranked L.A. Confidential as the best film of 1997.[28] The National Society of Film Critics also ranked it as the year's best film and Curtis Hanson was voted Best Director.[29] The New York Film Critics Circle also voted L.A. Confidential as the year's best film in addition to ranking Hanson as best director, and he and Brian Helgeland with the best screenplay.[30] The Los Angeles Film Critics Association and the National Board of Review of Motion Pictures also voted L.A. Confidential as the year's best film. As a result, it is only the third film to sweep the "Big Four" critics awards.[29]
It was also voted as the best film set in Los Angeles in the last 25 years by a group of Los Angeles Times writers and editors with two criteria: "The movie had to communicate some inherent truth about the L.A. experience, and only one film per director was allowed on the list."[31] In 2009, the London Film Critics' Circle voted L.A. Confidential one of the best films of the last 30 years.[32]
American Film Institute
AFI's 100 Years...100 Movies—Nominated[33]
AFI's 100 Years...100 Thrills – Nominated[34]
AFI's 100 Years...100 Movies (10th Anniversary Edition)—Nominated[35]
Home media[edit]
A DVD was released April 21, 1998. In addition to the film, it included two featurettes, an interactive map of Los Angeles, a music-only track, a theatrical trailer, and three TV spots.[36]
A two-disc Special Edition was released on DVD and Blu-ray on September 23, 2008.[37] Both sets contain the same bonus content. In addition to the features from the original DVD, included are four new featurettes, the 1999 pilot of the proposed TV series starring Kiefer Sutherland, and film commentary by critic/historian Andrew Sarris, James Ellroy, Russell Crowe, Kevin Spacey, Guy Pearce, James Cromwell, Ruth Myers, David Strathairn, Kim Basinger, Brian Helgeland, Jeannine Oppewall, Dante Spinotti and Danny DeVito. Some sets included a six-song sampler from the film's soundtrack.[36]
See also[edit]
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References[edit]
1.^ Jump up to: a b c d e f g h i j k l m n o Sragow, Michael (September 11, 1997). "City of Angles". Dallas Observer.
2.Jump up ^ Dawson, Jeff (December 1997). "Mean Streets". Empire.
3.Jump up ^ Smith, Adam (December 1997). "The Nearly Man...". Empire.
4.^ Jump up to: a b c d e f g h i j Taubin, Amy (November 1997). "L.A. Lurid". Sight & Sound.
5.Jump up ^ Kempley, Rita (September 21, 1997). "Guy Pearce Cuts Through the Chase". The Washington Post.
6.^ Jump up to: a b c d e Veniere, James (September 14, 1997). "Director of L.A. Confidential Hits Stride". Boston Herald.
7.Jump up ^ Hemblade, Christopher (December 1997). "Breaking the Mould...". Empire.
8.Jump up ^ Arnold, Gary (September 21, 1997). "Casting for L.A. Confidential went in unexpected direction". The Washington Times. pp. D3.
9.^ Jump up to: a b Taubin, Amy (September 23, 1997). "Confidentially Speaking: Curtis Hanson Makes a Studio-Indie Hybrid". The Village Voice.
10.Jump up ^ http://www.oscars.org/awards/academyawards/oscarlegacy/1990-1999/70nominees.html
11.Jump up ^ "Festival de Cannes: L.A. Confidential". festival-cannes.com. Retrieved 2009-09-22.
12.Jump up ^ "L.A. Confidential". Box Office Mojo. Retrieved 2009-01-07.
13.Jump up ^ Ebert, Roger (September 19, 1997). "L.A. Confidential". Chicago Sun-Times. Retrieved 2009-01-07.
14.Jump up ^ Ebert, Roger (September 4, 2008). "Great Movies: L.A. Confidential". Chicago Sun-Times. Retrieved 2009-01-07.
15.Jump up ^ Maslin, Janet (September 19, 1997). "The Dark Underbelly of a Sunny Town". The New York Times. Retrieved 2009-01-07.
16.Jump up ^ Howe, Desson (September 19, 1997). "Noir Confidential: A Clever Case". The Washington Post.
17.Jump up ^ Lacey, Liam (September 19, 1997). "L.A. Confidential". The Globe and Mail. pp. C1.
18.Jump up ^ Clark, Mike (September 19, 1997). "Cool L.A. Confidential: Classic film noir to the core". USA Today. pp. 1D.
19.Jump up ^ Ansen, David (September 22, 1997). "Noir Kind of Town". Newsweek. p. 83.
20.Jump up ^ Schickel, Richard (September 15, 1997). "Three L.A. Cops, One Philip Marlowe". Time. Retrieved 2009-01-07.
21.Jump up ^ Sarris, Andrew (September 28, 1997). "Confidentially Speaking, Noir's Gone Hollywood". The New York Observer. Retrieved 2009-01-07.
22.Jump up ^ Turan, Kenneth (September 19, 1997). "L.A. Confidential". Los Angeles Times. Retrieved 2009-01-07.[dead link]
23.Jump up ^ Gilbey, Ryan (October 31, 1997). "Thugs, pigs and paparazzi in Fifties LA". The Independent. p. 8.
24.Jump up ^ Williams, Richard (October 31, 1997). "LAPD blue". The Guardian. p. 6.
25.Jump up ^ "The 70th Academy Awards (1998) Nominees and Winners". oscars.org. Retrieved 2011-11-19.
26.Jump up ^ Weinraub, Bernard (March 24, 1998). "Titanic Ties Record With 11 Oscars, Including Best Picture". The New York Times. Retrieved 2009-01-07.
27.Jump up ^ Van Gelder, Lawrence (March 10, 1998). "Footlights". The New York Times. Retrieved 2009-01-07.
28.Jump up ^ "The Best Cinema of 1997". Time. December 29, 1997. Retrieved 2009-01-07.
29.^ Jump up to: a b Lyman, Rick (January 5, 1998). "L.A. Confidential Wins National Critics' Awards". The New York Times. Retrieved 2009-01-07.
30.Jump up ^ Maslin, Janet (December 12, 1998). "L.A. Confidential Wins Critics Circle Award". The New York Times. Retrieved 2009-01-07.
31.Jump up ^ Boucher, Geoff (August 31, 2008). "The 25 best L.A. films of the last 25 years". Los Angeles Times. Retrieved 2008-08-31.
32.Jump up ^ Child, Ben (December 1, 2009). "Apocalypse Now tops London critics' 30th anniversary poll". The Guardian. Retrieved 2009-12-02.
33.Jump up ^ AFI's 100 Years...100 Movies Nominees
34.Jump up ^ AFI's 100 Years...100 Thrills Nominees
35.Jump up ^ AFI's 100 Years...100 Movies (10th Anniversary Edition) Ballot
36.^ Jump up to: a b Spurlin, Thomas (23 September 2008). "L.A. Confidential: Two-Disc Special Edition". DVD Talk. Retrieved 11 March 2014.
37.Jump up ^ "L.A. Confidential Two-Disc Special Edition". Business Wire. June 16, 2008. Retrieved 2008-06-17.
Further reading[edit]
Dargis, Manohla (2003). L.A. Confidential. BFI Modern Classics. British Film Institute. ISBN 0-85170-944-3.
External links[edit]
Wikiquote has quotations related to: L.A. Confidential
L.A. Confidential at the Internet Movie Database
L.A Confidential (2003 television pilot) at the Internet Movie Database
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L.A. Confidential at Metacritic
Press Conference at the Toronto International Film Festival
L.A. Confidential Shooting Locations
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Categories: 1997 films
English-language films
1990s crime films
American films
American crime films
American mystery films
Films directed by Curtis Hanson
Edgar Award winning works
Fictional portrayals of the Los Angeles Police Department
Films based on mystery novels
Films featuring a Best Supporting Actress Academy Award winning performance
Films featuring a Best Supporting Actress Golden Globe winning performance
Films set in Los Angeles, California
Films set in 1952
Films set in 1953
Film scores by Jerry Goldsmith
Films whose writer won the Best Adapted Screenplay Academy Award
Neo-noir
Police detective films
Regency Enterprises films
Warner Bros. films
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