Curtis Hanson's 1997 Best Picture nominee L.A. Confidential will be the next feature in the Academy of Motion Picture Arts and Sciences' "Great To Be Nominated" series. The neo-noir crime drama will be screened on Monday, May 19, at 7:30 p.m. at the Academy's Samuel Goldwyn Theater in Beverly Hills.
Following the screening, cast member Jim Metzler, costume designer Ruth Myers, novelist James Ellroy (on whose book the film was based), producer Michael Nathanson, screenwriter Brian Helgeland, and sound re-recording mixers Anna Behlmer and Andy Nelson will take part in a panel discussion about the film.
In my view, 1997 is one of the worst Best Picture years in the history of the Academy Awards. Not one of the five nominees were at least good. Apparently, however, most people (as usual) would disagree: Titanic (not counting inflation) became the biggest box-office success in history; The Full Monty was a major sleeper hit; Good Will Hunting became Gus Van Sant's official entry into the mainstream and made a star out of Matt Damon; As Good As It Gets received widespread praise from myriad well-respected critics; and L.A. Confidential won countless accolades both in the United States and elsewhere.
My problem with L.A. Confidential is that despite Curtis Hanson's earnest attempt to create the mood of a 1940s film noir, missing is one key element: truthfulness. L.A. Confidential looks, sounds, and feels artificial. Save James Cromwell's spot-on performance as a crooked cop, everything else about the film is phony, from the contrived plot and Hanson's sentimental touch to Dante Spinotti's pretty cinematography and the inadequacy of the four leads (Russell Crowe, Guy Pearce, Kevin Spacey, and Kim Basinger), none of whom even remotely suggests the darkness lurking inside real film noir characters.
As I stated above, most people would doubtlessly disagree with my assessments: L.A. Confidential earned nine Academy Award nominations, winning Oscars for Actress in a Supporting Role (Basinger) and Writing — Screenplay based on material previously produced or published (Brian Helgeland, Hanson). Its other nominations were for Best Picture (Arnon Milchan, Hanson and Michael Nathanson, Producers), Art Direction (Jeannine Oppewall; Set Direction: Jay R. Hart), Cinematography (Spinotti), Directing (Hanson), Film Editing (Peter Honess), Music — Original dramatic Score (Jerry Goldsmith), and Sound (Nelson, Behlmer, Kirk Francis).
Steve Moore's Oscar-nominated animated short Redux Riding Hood — with voices by Mia Farrow, Don Rickles, Adam West, and Fabio, among others — will be screened prior to the feature.
Good Will Hunting also received nine nominations (winning two of those) in 1997. Therefore, it will be screened as part of the "Great To Be Nominated" series on June 2.
Passes for part five of "Great To Be Nominated" are $30 for the general public and $25 for Academy members and students with a valid ID. Including L.A. Confidential, there are 13 screenings remaining in the series. A $5 discount is available for those who wish to renew their passes from parts one, two, three or four of the series. Individual tickets are $5 for the general public and $3 for Academy members and students with a valid ID. Passes and tickets may be purchased online at www.oscars.org, by mail, in person at the Academy during regular business hours or, depending on availability, on the night of the screening when the doors open at 6:30 p.m.
Curtain time for all features is 7:30 p.m., and pre-show elements will begin at 7 p.m. The Academy is located at 8949 Wilshire Boulevard in Beverly Hills. For more information, call (310) 247-3600.
Photos: Courtesy of the Margaret Herrick Library
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I think Russell Crowe is good in that film. He would never be as good.