William Friedkin's greatest subversive and grimy filmmaking tendencies were vividly realized in this '80s crime thriller.
The Big Picture The New Hollywood movement opened up doors for bleaker storytelling in American cinema. Specifically, it allowed, in the wake of the Hays Code dissolving, for authority figures like cops to finally be depicted as out-and-out baddies on film. The darker complexities of reality, where authority figures often become evildoers, could be brought to life on the silver screen.
What’s especially fascinating about To Live and Die in L.A.’s depiction of rampant corruption is how it seeps into everything. Attorney Bob Grimes is quite nonchalant about breaking attorney/client privilege, while Chance's superiors often give in to his tantrums and let him off with a slap on the wrist rather than engage in more severe punishments for his horrific transgressions.
'To Live and Die in L.A.' Shines a Light on Griminess Many filmmakers, especially in the modern world, mistake dark stories for ones that need rampantly incomprehensible lighting. Dimness is confused as a substitute for thematic depth or actually stirring cinematography. William Friedkin’s features plumbed the darkest depths of humanity, but they also weren’t coated in wall-to-wall darkness.
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