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L.A. Confidential - CONTAINS SPOILERS
L.A. Confidential is my favorite kind of favorite movie: the kind that's a little different every time you see it. With each rewatch, I notice something I hadn't before or obsess over scenes that previously left me indifferent or confused. In this rewatch, I made a point to pay more attention to Captain Dudley Smith and I'm glad I did. Even though I know his real intentions - the scene that reveals them still sends chills down my spine - Cromwell's performance is one that rewards repeat viewings. You can interpret his actions in his screen time up to the big reveal as those of a commanding officer who looks out for his subordinates or as those of a master manipulator who knows exactly which buttons to push. This realization made me notice how strong the movie's subtlety is in general (the kind I also constantly miss, in general, due to my phone addiction, I'm ashamed to admit).
Aside from Smith's duplicity, highlights include the way Spacey's Vincennes enunciates "lieutenant" while talking to Pearce’s Exley, the chief's (John Mahon) stone-cold glare towards Exley while awarding him, Exley and Smith's smug poses in the newspaper photo shoot and Vincennes' bemused expressions while the clueless Exley interrogates Johnny Stompanato. As for the uniqueness and beauty of the movie's look and feel, it still very much captivates. The movie manages to resemble one from the '50s and one from the late '90s at the same time and thus portrays its era in a way that favors accuracy over glorification, but thankfully without dulling the era's charms. The quality of the good, bad and ugly dynamic of Exley, White and Vincennes respectively also stood out this time, their acting credits since 1997 making their casting seem even more inspired. All this added appreciation also led to a stronger understanding of what this delightfully told and acted noir story is all about, which is so succinctly expressed in the Fleur di Lis slogan "whatever you desire." As Sid Hudgens puts it in the introduction, Los Angeles is sold as a place that has just that, whether it's the means to raise a family, become a superstar or indulge the basest of pleasures. Sadly, those desires have been co-opted by the likes of Mickey Cohen, Pierce Patchett and Dudley Smith while those who punish them like Exley are more likely to be shunned than praised and wave goodbye to the girl than take her home. My favorite takeaway from this rewatch, however, is simply watching a Hollywood movie with such a talented and devoted cast and crew. Not to mention, and this may be a combination of quarantine fatigue and having read too many Martin Scorsese articles doing the talking, but there's the added appeal of knowing that Hollywood took a chance on the movie for the sake of making something good first and something bankable second.
L.A. Confidential is my favorite kind of favorite movie: the kind that's a little different every time you see it. With each rewatch, I notice something I hadn't before or obsess over scenes that previously left me indifferent or confused. In this rewatch, I made a point to pay more attention to Captain Dudley Smith and I'm glad I did. Even though I know his real intentions - the scene that reveals them still sends chills down my spine - Cromwell's performance is one that rewards repeat viewings. You can interpret his actions in his screen time up to the big reveal as those of a commanding officer who looks out for his subordinates or as those of a master manipulator who knows exactly which buttons to push. This realization made me notice how strong the movie's subtlety is in general (the kind I also constantly miss, in general, due to my phone addiction, I'm ashamed to admit).
Aside from Smith's duplicity, highlights include the way Spacey's Vincennes enunciates "lieutenant" while talking to Pearce’s Exley, the chief's (John Mahon) stone-cold glare towards Exley while awarding him, Exley and Smith's smug poses in the newspaper photo shoot and Vincennes' bemused expressions while the clueless Exley interrogates Johnny Stompanato. As for the uniqueness and beauty of the movie's look and feel, it still very much captivates. The movie manages to resemble one from the '50s and one from the late '90s at the same time and thus portrays its era in a way that favors accuracy over glorification, but thankfully without dulling the era's charms. The quality of the good, bad and ugly dynamic of Exley, White and Vincennes respectively also stood out this time, their acting credits since 1997 making their casting seem even more inspired. All this added appreciation also led to a stronger understanding of what this delightfully told and acted noir story is all about, which is so succinctly expressed in the Fleur di Lis slogan "whatever you desire." As Sid Hudgens puts it in the introduction, Los Angeles is sold as a place that has just that, whether it's the means to raise a family, become a superstar or indulge the basest of pleasures. Sadly, those desires have been co-opted by the likes of Mickey Cohen, Pierce Patchett and Dudley Smith while those who punish them like Exley are more likely to be shunned than praised and wave goodbye to the girl than take her home. My favorite takeaway from this rewatch, however, is simply watching a Hollywood movie with such a talented and devoted cast and crew. Not to mention, and this may be a combination of quarantine fatigue and having read too many Martin Scorsese articles doing the talking, but there's the added appeal of knowing that Hollywood took a chance on the movie for the sake of making something good first and something bankable second.