L.A. Takedown (1989) (TV)

Director:

Michael Mann

Writer (WGA):

Michael Mann (written by)

Release Date:

27 August 1989 (USA)

Genre:

Action | Crime | Drama | Thriller

Tagline:

If you thought Miami was rough, you haven't worked the streets of L.A.

Plot Keywords:

City Name In Title | Police | TV Movie | Bank Robbery | Acronym In Title

Cast

Scott Plank	...	Vincent Hanna
Alex McArthur	...	Patrick McLaren
Michael Rooker	...	Bosko
Ely Pouget	...	Lillian Hanna
Vincent Guastaferro	...	Michael Cerrito
Richard Chaves	...	Lou Casals
Victor Rivers	...	Arriaga
Laura Harrington	...	Eady
Daniel Baldwin	...	Bobby Schwartz
Clarence Gilyard Jr.	...	Mustafa Jackson
R.D. Call	...	Harry Dieter
Peter Dobson	...	Chris Sheherlis
John Santucci
Xander Berkeley	...	Waingro
Juan Fernández	...	Harvey Torena (as Juan Fernandez)

Also Known As:

Crimewave (USA) (alternative title)
L.A. Crimewave

Runtime:

97 min

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

1.33 : 1

Sound Mix:

Mono

Certification:

Finland:K-16 | UK:15 | Germany:16 (DVD rating)

Filming Locations:

Los Angeles, California, USA

Company:

Ajar Inc.

Trivia:

Shot in only a fortnight.

Movie Connections:

Referenced in The Making of 'Heat' (2005) (V)

Soundtrack:

L.A. WOMAN

Stands up well next to Heat

It's impossible to talk about this film in isolation from Mann's second, more successful attempt. They are almost identical films by virtue of the script, although there is different emphasis at given moments. Heat is a better film; it has the all the administrative advantages of coming after this one as well as better actors and a larger budget.

Yet L.A. Takedown stands up well. Scott Plank (Hanna/Pacino) and Alex Arthur (Patrick McClaren/de Niro) are well cast, even adopting the same mania/iceberg opposed mannerisms as the more famous incumbents of the role. The raw existential despair that is the undoing of the two characters stays in the script but hasn't translated quite as well onto the screen - Laura Harrington's Eady says 'lonely' but doesn't look it, like Amy Brenneman does. Ely Pouget is an honest, worldly woman like Diane Venore though.

There's one minor loose end but that's it really. We still get the trademark bleached look, set piece authenticity and soulful, LA-by-night shots that Mann likes. A fairly good thriller in its own right but a deeply fascinating one to watch in tandem with Heat. 5/10