To Live and Die in L.A.

A reckless Secret Service agent (William Peterson) stops at nothing in his quest to take down a counterfeiter (William Dafoe).

To Live and Die in L.A. is a very slick, stylish 80s crime movie bolstered by great performances from its two leads.

William Peterson and William Dafoe are excellent, with Peterson as a driven, adrenaline-chasing agent who lives for his job, and Dafoe as a ruthless, calculating counterfeiter. As the story unfolds, their characters begin to mirror each other, as each is willing to do whatever it takes, using anyone and anything, to get what they want.

One of the definitive pieces of 80s cinema, To Live and Die in L.A. captures the look and feel of 80s Los Angeles without seeming trendy. This is the rare movie that’s firmly planted in its era without feeling trapped by it.

To Live and Die in L.A. feels like a Michael Mann movie, from the Los Angeles cinematography, to the characters and subject matter. A feeling Mann apparently shared, as, according to the IMDB, he sued director William Friedkin for plagiarism, asserting that Friedkin had stolen the concept of Mann’s “Miami Vice” television series. Mann lost the lawsuit.

Interestingly, Friedkin only started work on the movie after he lost the opportunity to direct the screen adaptation of Thomas Harris’ “Red Dragon,” which went to Mann, who would in turn cast To Live and Die in L.A.’s William Peterson in the lead.

That said, To Live and Die in L.A. would have benefited from Mann’s involvement. While the cinematography, performances, and soundtrack are all spot-on, the dialog is uneven, ranging from passable to clichéd, a fault Mann could and would have corrected.

Dialog aside, however, the script is great, especially the third act which, again, feels like vintage Michael Mann.