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http://urllio.com/qxi9wWorking largely in cases of counterfeiting, LA based Secret Service agent Richie Chance exhibits reckless behavior which according to his longtime and now former partner Jimmy Hart will probably land him in the morgue before he's ready to retire. That need for the thrill manifests itself in his personal life by his love of base jumping. Professionally, it is demonstrated by the fact that he is sextorting a parolee named Ruth Lanier, who feeds him information in return for him not sending her back to prison for some trumped up parole violation. With his new partner John Vukovich, Chance is more determined than ever, based on recent circumstances, to nab known longtime counterfeiter Ric Masters, who is more than willing to use violence against and kill anyone who crosses him. Masters is well aware that the Secret Service is after him. Masters' operation is somewhat outwardly in disarray, with Chance being able to nab his mule, Carl Cody, in the course of moving some of the fake money, and one of his associates, a lawyer named Max Waxman, probably stealing money from him. Partly with information from Ruth, Chance is trying to find and exploit the weaknesses in Masters' operation. To accomplish his goal, Chance takes more and more unethical and illegal measures, which may be problematic for Vukovich, who comes from a family of police officers who are sworn to uphold the law.
Two cops in Los Angeles try to track down the vicious criminal Eric Masters (<a href=">Willem Dafoe). Then, one of them is killed by Masters and the other one swears revenge no matter what the cost. After that, the hunt becomes an ob- session and the law he once swore to uphold becomes meaningless to him.
A fine film, exuding artistry at all levels and in all departments, but especially in Friedkin's own. The liberal review establishment didn't find the usual counterfeit uplift in the usual places (love, service and family) and so they turned on Friedkin like the proverbial swine amid the pearls. Well, the pearl has kept its lustre but the swine have been turned to tripe. Uplift is irrelevant next to transcendence. My one caveat is with the storyline. It concerns the question of Master's knowledge of the undercover agents' identities. In the final colloquy between Masters and Vukovich, it is made clear that Masters knows (by way of his lawyer) that Vukovich is an agent who wouldn't "roll over" on his partner Chance. The inference seems to be that Masters went ahead with the illicit deal with this knowledge, something that staggers belief! All indications prior to this scene lead us to believe that Masters suspects the two buyers are not who they say they are but are nonetheless trustworthy customers, i.e., people with a shared criminal intent. Masters' comment to Vukovich seems inexplicable and could have been omitted without any loss to the narrative. Friedkin, it appears, was hoping to twist his plot for the sake of noiresque complexity, while overlooking the violence he was doing to its credibility.
This movie has it all: great characters, great action, great suspense. It also has great mood, great music, great cast (introduces Willem Dafoe) and surprises at every turn. It also has the greatest chase scene ever put on film.<br/><br/>The unpredictability of the film is one of its strongest points. And William Friedkin's direction is superb: he's topped himself with the chase scene in this film -- he also did the amazing chase in "The French Connection."<br/><br/>Excellent performances from the entire cast; especially Willem Dafoe and Dean Stockwell.
To Live and Die in L.A. looks like a rich man's Miami Vice. William Friedkin's evident attempt to fashion a West Coast equivalent of his [1971] The French Connection is engrossing and diverting enough on a moment-to-moment basis but is overtooled.
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