‘To Live and Die in L.A.,’ a Neo-Noir Classic Turns 40
William Friedkin, known for The French Connection, created an L.A.-based neo-noir filled with corruption, betrayals, and a memorable soundtrack by Wang Chung. Released in November 1985, To Live and Die in L.A. celebrates its 40th anniversary this week.
A Rare Personal Discovery
Unlike typical anniversary retrospectives on well-known favorites, this time I revisited a film I had never seen before. I was only seven when it premiered, and for years, I missed the chance to watch it. Now, having finally seen it, I appreciate how the movie blends 1970s neo-noir sensibilities with the distinctive style and music of the Reagan era.
Distinctive Los Angeles Setting
Friedkin makes excellent use of Los Angeles locations, deliberately avoiding the usual glamorous Hollywood imagery in favor of a more authentic, unconventional portrayal of the city. This approach is especially evident in the film’s iconic car chase scene, which stands alongside the thrilling chase in The French Connection as one of Friedkin’s best.
“The first voice we hear in the film is that of the Gipper.”
The film's soundscape and aesthetic firmly root it in the 1980s, while its narrative digs into themes of deception and moral ambiguity.
Summary
To Live and Die in L.A. remains a powerful neo-noir that captures the spirit of 1980s Los Angeles through an intense story, gritty locations, and an unforgettable score, proving its lasting influence four decades later.