1. Similar product research
Film beginning analysis La Confidential
Curtis Hanson’s L.A. Confidential is a filmof the neo- noir sub-genre filmthat makes use of
colour unlike its original post war predecessors but also contrasts this use with the gritty
themes and characters that are prevalent throughout the filmnoir genre and that ultimately
define it. Immediately the viewer is exposed to some contemporary jazz that is reflective of
the 40s/50s time period that the film is centred around. The music that plays throughout
the course of the opening sequence (roughly 2 mins 34 seconds) gives the viewer the
impression that the filmcould be swaying towards the gangster genre due to the cheerful,
upbeat, and overall ironic tone of the piece. However the music also complements and goes
against the opening narrative; for instance it complements Danny DeVito’s narration which
is full of irony and sarcasm, and it yet it seems out of place with violent and menacing
images.
Danny DeVito’s introductory narration in the opening scene serves as a reminder to the
former noirs of the 40s and 50s where narration was heavily used in flashbacks and to
instigate tension and suspense within the film. His sarcastic tone accentuates the
foreboding mood and possibly foreshadows future events that may take place within his
film. The opening scenes mise en scène makesuse of fuzzystock footage thatportraysLA as
beinganidealisticparadiseandalsocreatesa sense of overwhelmingoptimism, yetatthe same
time the vieweris aware thatthat thisportrayal can’t lastfor ever.The openingfuzzycolouredstock
footage iscontrastedwithblackandwhite stockfootage that still illustratesall the optimismand
apparentluxurythatthe citizensof LA bask in,but at the same time givesthe viewerasense thatall
isnot well beneaththe façade. Inbetweenthe original stockfootage there are new shotsthatare
put incertainsectionshowevertheystill fit intothe overall fluidity;forinstance the shotof people
watchinga TV showentitledbadge of honourwhichDeVitosarcasticallyreferstoas ‘a crime drama
where copswalkon waterto keepthe citycleanof crooks’thiscomesacross as a mockingreference
to the hardboileddetectivedramasof the past. The filmpresentsuswithanunscrupulous,sarcastic,
and despite certainsectionsof the filmacharacterwhichwe as the viewerare drawntoo.For
instance he endshisidealisticmonologuewitharatherall too knowingmockingreference tothe
illusionsocietyare presentedwith,‘It’sparadise onearth,that’swhattheytell youanyway’after
thishe laughsmockingly.AfterthissectionDeVito’scharacterheightenedsarcasmisshownashe’s
able to quicklychange fromtalkingaboutthe unrealisticdreamsthatthe Americanpublicare
presentedwithandthenthe harshrealitybeneaththe façade;all the while maintaininghischeery
demeanour. Thiscanbe clearlyseenwhenhe talksaboutthe notoriousgangsterMeyerHarris
Cohen;he talksaboutthe atrocitiesthisgangstercommitswhilstonthe side livingaluxurious
lifestyle thatmostcanonlydreamof. AfterthisMeyerisshownbeingarrested,fromhere itgoesto
a shot of DeVitowscharactersoffice wherewe firstencounterhim;he isimmediatelyrecognisable
as a pressman of the4period.Hisoffice ismessy,dark,anddingywhilstDeVito’scharacterhasan
