Pearce's big break came when he cross-dressed in The Adventures of Priscilla, Queen of the Desert. Ron Rifkin, Matt McCoy, and the rest of the cast also bring realism and energy to their roles, making the film solid and believable. Both look at the evolution of the city through a kaleidoscope of social types, essentially detailing how Los Angeles came into being at the expense of the ethnic working classes, and how crime in the ghetto became a matter of economic growth contributed to as much by the upper classes as those trapped by the cycle of poverty and crime. It's interesting to note that two of the three main actors in this distinctly American tale are Australian. The boldface names jump off the page. However, at the time, the studio was only talking to well-known screenwriters. Dudley Liam Smith, as Lynn Bracken, as Bud White, as Pierce Patchett, as D.
There were parts where the movie just seemed to drag a bit. Los Angeles is a place of shady dealings and police corruption. Crowe's Bud White steals the show -- brutal, tender, complex, and in his own way, rigidly principled, White is a powerful character whose presence dominates scenes. For six weeks, Crowe, Pearce, Hanson and Helgeland conducted rehearsals, which consisted of their discussing each scene in the script. White, it turns out, is much more than mere muscle.
The story takes place in L. The title refers to the 1950s scandal magazine , portrayed in the film as Hush-Hush. More specifically, the story is not just about justice versus evil, there are also many elements such as passion, wisdom, greed, friendship and of course love which all made this movie more than fun to watch. While he follows his father into the same profession, his goals are unique; to uphold the law without having to bend or break it. That's all well and good if you know who the guilty are but in L.
Several famous Hollywood landmarks appropriate to the 1950s were used, including the in , the Frolic Room on , and the , an outdoor shopping mall dressed as a movie theatre where a premiere takes place at the beginning of the film. But at least it's fun to try. Well done by the creators of L. Spacey's performance is undoubtable the best, because he is one of those actors who doesn't have to try to communicate his emotions in order to communicate them or, at least, he is good enough not to show the strings. Where the book had about eight different storylines and is brilliant in its own right, scriptwriters Brian Helgeland and Curtis Hanson removed every scene that doesn't contain either Exley Pearce , White Crowe or Vincennes Spacey. Curtis Hansen does a wonderful job bringing this story to the big screen. The editing is quick and seamless, the music is perfect for the film Hanson should teach other directors how to do a montage effectively , and the cinematography is great.
Spacey had already made it with his Best Supporting Actor nod for The Usual Suspects but what puzzles me is how everybody apart from Kim Basinger didn't get any acting nominations at the Oscars. It's a city where everything looks perfect, where everybody goes to become a movie star. The screenplay and direction are second-to-none. A prostitution ring of women cut to look like actual movie stars was long rumored to exist in Hollywood. Few will have made many better films, before or since. James Woods is the only actor previously capable of taking on an Ellroy-written lead - - in the grotesque Cop, from an early, immature novel - - and Pearce in particular has some of his shatteringly unpredictable presence. It's a classic, what else can you say besides that it should be required viewing no matter who you are.
It's quality varies from Kay Starr to Cole Porter. Confidential is first and foremost a great story, with many fascinating twists and turns along the way. Confidential has a certified fresh rating of 99% and an average rating of 8. The real genus of this film is that it creates not only a physical world, but one with all the politics, corruption, racism and inequity of the time. Three very different kinds of cops are portrayed here. Confidential is, without a doubt, the best film of the 1990s, and quite possibly one of the best films ever made. What the three cops are fighting, most of the time, is a pervasive corruption that saturates the worlds in which they move.
Spacey is at his insinuating best, languid and debonair, in a much more offbeat performance than this film could have drawn from a more conventional star. The film is split into three strands dictated by the characters, they are not quite distinct but are mostly intertwined the whole way through coming together in the final hour to great effect. However each has suspicions that something is not right. It's without a doubt my most personal movie. Confidential's case it had both and a lot more to say the least.
These three men, so different, will have to join forces when they discover their respective cases, which involve corruption, drugs, prostitution and various murders, are all linked to the Nite Owl massacre. The movie also documents a specific time when the world of police work edged into show business. Like 's depiction of Los Angeles in the '30s in , the atmosphere and detailed production design are a rich gel where the strands of narrative form. They set up celebrities or politicians in compromising situations, Vincennes breaks in to bust them and Hush-Hush gets the story. Confidential asks the audience to raise its level a bit, too—you actually have to pay attention to follow the double-crossing intricacies of the plot. After seeing it, I thought that surely these critics and readers must have been on some powerful drug, or were so desperate for a movie that had any kind of a story, they were willing to call it a masterpiece.