To Live and Die in L.A. (1985) [w/Commentary]

When a notorious, highly sophisticated counterfeiter murders his partner, Secret Service agent Richard Chance (William Petersen) launches a furious vendetta to capture the man responsible. But master counterfeiter Rick Masters (Willem Dafoe) is always just one step ahead of Chance in William Friedkin's thrilling, suspenseful crime drama. With violent shoot-outs and a turbulent chase scene reminiscent of Friedkin's own The French Connection, To Live and Die in L.A. broke with tradition by making the ostensible hero as morally reprehensible as the villain he pursues. Clashing with bureaucratic obstacles, Chance is forced to break the rules in order to procure cash for a sting operation, but the risks he takes snowball into an avalanche of violence and moral repercussions, leading to a morally ambiguous cul-de-sac from which there may be no return.

One of the very best films of the 1980s this was shamefully neglected and misunderstood by the critics. The problem is: on the surface it's just like an ordinary action crime thriller (and thus won't appeal to the arthouse crowd), except that it makes it difficult to identify yourself with any of the characters. In other words: it violates its genre rules. But this very fact makes it so unpredictable and thrilling, and a proper movie as opposed to a mere genre clone.

The good guys are flawed. This isn't really new, since the mid 1960s there were plenty of flawed heroes in Westerns or police thrillers. The difference is that not only their characters are flawed, they are vulnerable, destructible, they make mistakes. And they pay for their mistakes. Similarly the villains: yes, they are formidable and glamorous, but they are not in the league of the Blofelds or Sentenzas of moviedom. They make mistakes too. And they pay too.

A surprising asset is the film music by Wang Chung, a one-hit-wonder pop obscurity of the era. Their sound perfectly melts with the cinematography, especially in the stylish opening sequence.

Audio commentary by director and co-writer William Friedkin