To Live and Die in L.A. (1985)

A fearless Secret Service agent will stop at nothing to bring down the counterfeiter who killed his partner.

Director:

William Friedkin

Writers:

Gerald Petievich (novel), William Friedkin (screenplay),

Stars:

William Petersen, Willem Dafoe, John Pankow

3 wins.

Cast

Cast overview, first billed only:
William Petersen	...	Richard Chance (as William L. Petersen)
Willem Dafoe	...	Eric Masters
John Pankow	...	John Vukovich
Debra Feuer	...	Bianca Torres
John Turturro	...	Carl Cody
Darlanne Fluegel	...	Ruth Lanier
Dean Stockwell	...	Bob Grimes
Steve James	...	Jeff Rice
Robert Downey Sr.	...	Thomas Bateman (as Robert Downey)
Michael Greene	...	Jim Hart
Christopher Allport	...	Max Waxman
Jack Hoar	...	Jack
Valentin de Vargas	...	Judge Filo Cedillo (as Val DeVargas)
Dwier Brown	...	Doctor
Michael Chong	...	Thomas Ling

Storyline

Two cops in Los Angeles try to track down the vicious criminal Eric Masters. 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.

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Plot Keywords:

secret service | secret service agent | revenge | murder | parolee | 

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Taglines:

The director of "The French Connection" is on the streets again!

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Genres:

Action | Crime | Drama | Thriller

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Certificate:

R

Details

Country:

USA

Language:

English Arabic Spanish

Release Date:

1 November 1985 (USA)

Also Known As:

Vivir y morir en Los Ángeles

Filming Locations:

183 North Los Robles Avenue, Pasadena, California, USA

Box Office

Gross:

$967,312 (USA)

Company Credits

Production Co:

SLM Production Group, New Century Productions, United Artists

Technical Specs

Runtime:

116 min 101 min (TV)

Sound Mix:

Dolby

Color:

Color

Aspect Ratio:

1.85 : 1

Did You Know?

Trivia

During the opening sequence when the Willem Dafoe character is shown printing money the film crew is actually creating counterfeit bills. They had a convicted counterfeiter on set showing them how it is done. They were filming out in the desert and Willem Dafoe said that every time a helicopter flew over the building they were sure it was the police coming to arrest them all.

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Goofs

In the final scene between Masters and Vukovich in the warehouse, after all the rounds have been fired, Vukovich keeps pulling the trigger. You also hear the sound of the pistol's hammer striking, but the cylinder of the revolver is not rotating.

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Quotes

Ruth Lanier: I was reading about the stars. Talked about how the stars are the eyes of god. I think it's true, don't you?
Richard Chance: No, I don't.

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Crazy Credits

Right at the end, after the credits, there is a shot of William Petersen's face

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Connections

Referenced in Hairshirt (1998)

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Soundtracks

"L.A. L.A."
Written by Jerry Leiber
Music by Jed Lieber
Performed by AM-FM

User Reviews

A Gritty, Anti-Buddy Police Thriller With A Welcome Mean Streak

Another critic discussing this film accurately mentioned "being shamefully ignored" as an injustice this 1985 William-Friedkin masterpiece suffered upon its release. And it was not only the critics who failed to notice its worth. For some reason, the public stayed away in droves as well, this as myself and my friend were practically organizing tours to the theater, introducing people to the film who, weened on "48 Hours", "Miami Vice" and yet to experience the Abbott & Costello hijinks of the "Lethal Weapon" series, had little concept of what a below-the-belt, impeccably crafted cop movie could be. Or would turn into.

Those who've seen Friedkin's earlier genre entry "The French Connection" shouldn't be caught off guard by his often ruthless tactics here, as he's back in the familiar territory of cops and criminals. Nor should those who survived his muscular "Sorcerer"--another unsung hero of an action piece--be unprepared for the director's inability to hide the more challenging (and dreadful) sides of male conflict. Even the disturbing "Cruising", where no attempts were made by the film to explain its ugly corkscrew of a story, all the while summoning an atmosphere thick with dread, still suspenseful, but full of plot holes conveniently filled with leather jackets and the scariest Village-People-on-PCP-soundtrack to date, is just another Friedkin descent into Hell. The details always more than part of a whole.

It may show the surface of a genre flick, but beneath the pulsing Wang Chung soundtrack and 80s-reflective duds (no Members Only jackets appear, luckily) there is as lean and mean and taut a suspense thriller as even Don Siegel could deliver in his prime. And with an outstanding, hyper-realistic cast of then unknowns--including Chicago theater alumni William Pederson, pre-"CSI" and with even more cock to his walk, swaggering through his pursuit of a damaged counterfeiter, Willem Dafoe--the screws tighten with each and every action sequence, climaxing the building mayhem with a cathartic, freeway massacre of automotive chaos on the same scale as a "Mad Max" movie.

The characters ar caustic, the betrayals extremely violent, the music pounding, the ending, in particular, is a departure from the Gerald Petievich novel, the author, himself, a retired U.S. Treasury agent writing an even bleaker resolution to the problem of two unstable detectives at odds with each other, losing their sanity, and finding no comfort in their escalating criminal misbehavior. "To Live And Die In LA" marks a significant and welcome departure within such an oversaturated genre, the buddy cop movie. It refuses to soften its blows or coddle its audience, showing instead dangerous, volatile situations being taken serious. Brutally serious.

Nonetheless, for all its nihilistic tone, captured in parched images of a city populated by thugs, thieves, and sociopathic criminals, "To Live And Die In LA" is like a breath of fresh smog.