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

Director:

William Friedkin

Writers:

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

Release Date:

1 November 1985 (USA)

Genre:

Action | Crime | Drama | Thriller

Tagline:

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

Plot:

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

Plot Keywords:

Secret Service | Murder | Revenge | Shot In The Stomach | Jump From Height

Awards:

3 wins

Cast

William Petersen	...	Richard Chance (as William L. Petersen)
Willem Dafoe	...	Eric 'Rick' 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

Runtime:

116 min | Germany:101 min (TV version)

Country:

USA

Language:

English | Arabic | Spanish

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby

Certification:

Finland:K-16 (cut) | Finland:K-18 (uncut) | Iceland:16 | Argentina:18 | Singapore:PG (cut) | Singapore:M18 | USA:R (certificate #27848) | Australia:R | France:-12 | Sweden:15 | UK:18 | West Germany:16 | Norway:18 (video premiere) (1987) | Norway:(Banned) (1986-2003) (cinema release)

Filming Locations:

444 S. Flower Street, Downtown, Los Angeles, California, USA

Company:

SLM Production Group

Trivia:

The car chase sequence took six weeks to shoot. It was the last thing shot - apparently so that, if anything happened to the principle actors, the filmmakers would at least have the bulk of their movie completed without having to replace anybody.

Goofs:

Crew or equipment visible: In the original 1985 theater release, there was a large shadow of the crew and equipment visible on the ground as John Vukovich approaches the warehouse with Chinese character.

Quotes:

Richard Chance: Can I talk to you for a minute?
Thomas Bateman: You must be a mind-reader. I was just going to call you. I have decided to let Vukovich work with you.
Richard Chance: Do I have a choice?
Thomas Bateman: Oh, is there someone else you'd prefer? You're welcome to fill out a Form 19, and list all the reasons you'd rather not work with him. Your info would be strictly confidential.

Movie Connections:

Referenced in "L.A. Law: To Live and Diet in L.A. (#3.7)" (1989)

Soundtrack:

Cold Day in Hell

To Live and Die in L.A. 20 years later, still fresh and authentic.

I saw To Live and Die in L.A. during its original theatrical release in the summer of 1985. I thought then it had the potential to eventually become regarded as one of the best cop films ever. Recently I watched it again on DVD. It absolutely holds up in every respect to its original verity and impact, and it undeniably should be regarded as one of the top ten movies of its genre, and in my opinion, one of the top two or three. What is so remarkable about William Friedkin's film is the uniformly excellent level of the performances of his cast. There is not a single portrayal on screen that is not, from first scene to last, dead on target. William Petersen as Richard Chance, an ambitious adrenaline-charged treasury agent who becomes totally obsessed with avenging his partner's murder and Willem Dafoe as Rick Masters, a fabulously wealthy yet sleazy and violent counterfeiter form the nucleus around which the film unfolds. Both actors are superb in their roles, but no less impressive is John Pankow as the new partner who approaches emotional meltdown as he gets drawn deeper and deeper into a web of illegality and violence stemming from Chance's single-minded pursuit of Masters. Also Dean Stockwell as a cynical mob lawyer in his glass tower office and John Turturro as a lowlife ex-con, each in their own way a lackey to Masters, deliver taut finely-etched portrayals that linger in the mind with their subtle impact, all the more remarkable for the relatively brief time they appear on screen. And the same can be said about Debra Feuer and Steve James in even briefer roles, Feuer as Masters' longtime girlfriend and James as a ghetto crime lord totally dependent on a constant supply of counterfeit twenty dollar bills from Masters. The richly detailed location shots within which the film's action flows, from Masters' BelAir mansion to the barrios of East Los Angeles, from Hollywood Boulevard performance art theaters to federal prison exercise yards is unflinchingly authentic, but never intrusive. And as a bonus to all this is a car chase that at least equals if not surpasses the one Friedkin directed in 1971's Best Picture Oscar winner, The French Connection.