L.A. Confidential (1997) Directed by Curtis Hanson

Nick
Being a huge James Ellroy fan and of Film Noir in general, I actually went to see this at The Cinema on release. Watching the film again (it's maybe my fourth time), it confirms to me that Hollywood cant do Ellroy. Let's not even broach the subject of De Palma's Black Dahlia. L.A. Confidential comes from Ellroy's famed L.A. Quartet of novels. The story is principally about three L.A. policemen investigating a diner shooting and discovering mass police corruption and of course, this being Ellroy, there are many strands to follow. It somehow misses the sweat and seediness that Ellroy brings to this story in his book. Hanson depicts 50's L.A. as far too pristine, every shot too studied in 'this is an important film' kinda way. This movie is slick. It also has a lot going for it. Acting is generally excellent, with Guy Pearce, Kevin Spacey and James Cromwell all putting in good turns. Russell Crowe and Kim Basinger take the acting honors for me. Their scenes together have real chemistry. Crowe especially captures the spirit of Ellroy's Bud White. This was something of a comeback for Basinger and her Lynn Bracken lights up the screen with just the right amount of mature sexiness.
Of course, any modern Noir set in L.A. during this period will suffer poorly with comparisons to Polanski's Chinatown, but it's also fair to say that most movies would suffer those comparisons. This is a good movie rather than a great one and unfortunately Hanson can't resist the Hollywood cheese ending. A disappointment on some levels then, especially when you take into account the rather excellent source material and what could of been if directed by someone else (David Lynch perhaps?) Lets see if the George Clooney starring adaptation of White Jazz due this year will give Ellroy some celluloid justice.

Duck, You Sucker (1971) Directed by Sergio Leone

Nick
"THE REVOLUTION IS NOT A SOCIAL DINNER, A LITERARY EVENT, A DRAWING OR AN EMBROIDERY; IT CANNOT BE DONE WITH ... ELEGANCE AND COURTESY. THE REVOLUTION IS AN ACT OF VIOLENCE ... " MAO TSE-TUNG
This quote is the first thing we see in Leone's Duck, You Sucker (aka: A Fistful of Dynamite or Once Upon A Time.... A Revolution). Having re-invented the Western genre in the mid 60's with The Dollars Trilogy through candid, cool realism and violence, Leone followed these films with the creation of the Western Opera with Once Upon A Time In The West. With Duck, You Sucker he arguably invented the political Western. Often regarded as the middle film of the trilogy that makes up West/America, Duck,You Sucker is the least celebrated of Leone's post Dollars movies. It's rarely seen and was a commercial flop at the time. American audiences didn't understand the left leaning politics and the subtle emotion. Leone was hurt by it's failure and didn't make another film for over a decade after it's release. It's hard to understand as this is a breathtaking, wonderfully realized epic. I love this film. The times I've watched it, the emotional thrust of the film always creeps up on me, as if I'd forgotten it was there.
The film in essence is about the friendship that forms between an IRA terrorist and explosives expert John Mallory (James Coburn) and Juan Miranda (Rod Steiger), a Mexican bandit who leads his family in robbing the rich. Mallory is on the run in Mexico and wanted by the British government for terrorist crimes. Juan, not really bothered about any revolutionary ideals, feels Mallory with his explosive tricks can help him rob the bank of a small Mexican town.Through this premise the two become mixed up with and end up aiding the revolutionaries against the Mexican military junta. This is a simple synopsis, as Duck, You Sucker offers so much more.
Coburn and Steiger are both excellent in the lead roles, often portraying humor, regret and sadness within the same scene. The relationship between Mallory and Miranda is slowly built up during the film. It grows out of grudging respect, mutual regrets and dreams of a better life.
A lot of the film is just Leone's vision and Morricone's score, dialogue rarely intrudes. Has there been a better Director / Composer combination in the history of cinema? Ennio Morricone's score brings so much emotion. Leone's vision is epic, yet intimate and detailed when needed, each scene filled with rich color and texture. The first hour of the film is often crude and funny, with a gentle humor to the fore. Then a sadness takes over the film that never lets you go. Heartbreaking at times, Duck, you Sucker offers some simple, worthy political ideals. But it's real message is emphasizing the true value of friendship during adversity . A must see. Power To The People!