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In 1950s Los Angeles, Ed Exley, Bud White and Jack Vincennes are three police officers with drastically different lives. Exley, the son of a famous detective, is a no-nonsense, by-the-book politician, hoping to climb the LAPD’s ranks. White, a heavy drinker, is a violent, plainclothes officer with a pension for punishing wife beaters. And Vincennes; oh Vincennes. Vincennes is a celebrity cop, who acts as a consultant on a popular TV Show, and who makes extra cash by feeding tips to a gossip mag. These men have nothing in common, and would never even dream of working together. But when White’s partner, whom Exley had a hand in firing, winds up dead, and an item that Vincennes found on one of his raids is discovered at the crime scene, they wind up doing just that. And the more they dig, the more they realize how deep the conspiracy goes.
On paper, LA Confidential is the perfect movie for me. It’s a fast-paced thriller, with high production values, and a strong cast. It’s even a period piece. All my interest boxes are ticked. So why am I not crazy about it? Well, the simple answer is that every single aspect feels extremely familiar. All the main characters and plot points have been used before, in other, older noir films. In fact, if you took out the more explicit violence and language, and made it black and white, LA Confidential would be indistinguishable from those earlier movies. Now, as I’ve always said, there is nothing inherently wrong with a story being unoriginal. Every narrative in existence takes ideas from works that have proceeded it. But the best stories are the ones that are able to take those ideas, and make them their own. They change the setting, alter the tone, or break the rules by not giving you the ending you expect. Or, as in the case of movies like Deadpool and Their Finest, they openly acknowledge how cliched their narratives are, and so make fun of them. LA Confidential does none of those things. It is not parodying, drawing from, or even deconstructing the noir genre. It is just a noir film. It is a mystery, set in the 50s, in LA, involving corruption, murder, a flawed protagonist, or protagonists, in this case, and a femme fatale. That’s it. It doesn’t shock you with its ending, like Seven or Mother. It doesn’t have witty dialogue, like The Big Lebowski or The Nice Guys. It’s story, its cinematography, its score and its costumes are all very standard for the noir genre. And because everything about it is so familiar, you find yourself not caring as much.
Now before you get the wrong idea, I don’t think this is a bad film. The acting is superb, the costumes and sets are period accurate, and the tight pacing never allows for a dull moment. I whole-heartedly acknowledge that this is a competently crafted movie. But I’m also quite convinced that the reason it was so acclaimed when it first came out back in 97 was nostalgia. Critics who grew up with classic noir were most likely just happy to see something that reminded them of when they were young, and so declared the film to be better than it was. But, like I said, it’s not terrible. Just unoriginal. So if that doesn’t bother you, give it a look. You’ll probably like it.