#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Working largely in cases of counterfeiting, LA based Secret Service agent Richie Chance exhibits reckless behavior which according to his longtime and now former partner Jimmy Hart will probably land him in the morgue before he’s ready to retire. That need for the thrill manifests itself in his personal life by his love of base jumping. Professionally, it is demonstrated by the fact that he is sextorting a parolee named Ruth Lanier, who feeds him information in return for him not sending her back to prison for some trumped up parole violation. With his new partner John Vukovich, Chance is more determined than ever, based on recent circumstances, to nab known longtime counterfeiter Ric Masters, who is more than willing to use violence against and kill anyone who crosses him. Masters is well aware that the Secret Service is after him. Masters’ operation is somewhat outwardly in disarray, with Chance being able to nab his mule, Carl Cody, in the course of moving some of the fake money, and one of his associates, a lawyer named Max Waxman, probably stealing money from him. Partly with information from Ruth, Chance is trying to find and exploit the weaknesses in Masters’ operation. To accomplish his goal, Chance takes more and more unethical and illegal measures, which may be problematic for Vukovich, who comes from a family of police officers who are sworn to uphold the law.
Plot: A fearless Secret Service agent will stop at nothing to bring down the counterfeiter who killed his partner.
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EVERYBODY WANG CHUNG
One of the best film soundtracks of the last 10 or 50 years, I wore out a cassette in my Infiniti M-30 in 1991. I also wore out a VHS copy of the film. I now have a CD of the soundtrack, but this 1985 masterpiece needs to get to DVD as of last hour.
“Jimmy Hart, was more than my partner, he was my best friend for 7 years,” Richie Chance tells naive G-man John Vukovich. “He was the most righteous guy I ever knew…He had 2 days left, that was it.” Chance knows who killed his partner and swears vendetta. It’s a plot that’s been done countless times, but when the words are venomously spewed by Chance (I’m gonna get Masters and I don’t give a sh*t how I do it,”), it’s not just talk. It’s a prophecy. And suddenly you’re on fresh ground.
William Friedkin knows cop dramas, he knows formula and he seldom screws up. Working William L. Petersen, Wilem DaFoe and Dean Stockwell, like the plate of a fake $20 bill, TO LIVE AND DIE IN LA is an incredible drama showing a City of Angels that is anything but angelic. This is the seamy side of LA, skeletonly explored in a handful of films, but here the grit sticks like downtown smog.
Great line: (From Stockwell’s character): “I make no apologies for being a lawyer. If I hadn’t taken the case, someone else would have without a doubt.”
And you have to give DaFoe’s Rick Masters his due: cop killer, thief, pyromaniac, voyeur… He drives a Ferrari too.
This is a modern classic.
A festivity of moral decay
This is a flawed movie, but with an appeal transcending the obvious quality of its actors and the proficiency shown in most of its scenes; actually, its true flaws, namely its dated soundtrack and its 80s “cool” macho dialogs and mannerisms, may even play in its favor looking at the whole in perspective. And, as happens with violence or sex in movies by Takashi Miike, for instance, this surface probably serves as a screen protecting the viewer from a far darker underbelly.
Specifically, the quality that sets this film beyond all others of its kind (and by the way makes Michael Mann’s suit so inadequate) and makes it so admirable, is its total lack of hope in the existence of a moral grounding. Beyond the obvious, on-your-face nihilism present in the ending, there is also a subtle undercurrent of deep cynicism all through the movie, as if Friedkin had to make it clear to us, both at a conscious and at a subconscious level, that he simply has no hope neither for the characters he describes nor for the very archetypes they represent. This is no hipster cynicism à la Tarantino we’re speaking about; this is something very genuine and very fundamental, as if the filmmakers responsible for this had lost all possible hope in justice, good will and redemption. Every single human being depicted in some detail in this movie is selfish, unbalanced, ruthless and at times (as is the case of Chance) even self-destructive. Every action performed here is led by self-interest, greed and even psychotic pulsions and, most interestingly, the latter are not only present in the villain: they are also present in the hero. Indeed, Petersen and Friedkin have managed to coin a new form of antihero, endowing him with a total lack of regard of ethical AND moral values and actually making him no better than the villain he pursues. He blackmails a girl on parole in exchange for information and occasional sexual relief, irresponsibly throws his own partner into the same near-suicidal car-chase he is in, shows no other feelings for the FBI agent killed much to his own fault than the fear of being caught, and makes it clear from the beginning that he is not intending to arrest Masters, no matter how many ethical and even legal barriers he has to trespass. And yet, surprisingly, there is something special in him or in the whole ambiance that makes us still wish for his success, even if we probably have more objective reasons to sympathize with Masters than we have to root for him. The central car chase and the feelings it arouses on the viewer exemplify this in a diaphanous manner. And, keeping with the bleak tone of the whole film, Chance’s untimely death is anything but epic; in an unusual display of realism, Friedkin disposes of his hero in a brutal and at the same time casual manner, like an animal run over by a car in the highway– there is no climactic prelude to his death and there is no token moral epilogue to his uglily ordinary death: he was simply slower than the shooter, as may happen in real life.
An intelligent movie, indeed. No wonder why it has become a cult classic over the years… and no wonder why it was not a box-office hit when it first came out.
Original Language en
Runtime 1 hr 56 min (116 min), 1 hr 41 min (101 min) (TV) (Germany)
Genre Action, Crime, Drama, Thriller
Director William Friedkin
Writer Gerald Petievich (novel), William Friedkin (screenplay), Gerald Petievich (screenplay)
Actors William Petersen, Willem Dafoe, John Pankow, Debra Feuer
Awards 3 wins.
Production Company New Century Productions
Sound Mix Dolby Stereo
Aspect Ratio 1.85 : 1
Camera Arriflex 35 BL3
Laboratory Technicolor, Hollywood (CA), USA
Film Length 3,150 m (Sweden, cut version), 3,182 m (Sweden, uncut version)
Negative Format 35 mm (Fujicolor A 125T 8511)
Cinematographic Process Spherical
Printed Film Format 35 mm