Orientation<\/strong>: Introductions<\/strong>: And it does.<\/p>\n From page one, we are treated to a montage introducing the city and several of the key players in the story to come.<\/p>\n One thing that is immediately noticeable in Helgeland’s screenplay is the motif of image\/reality. The opening description of LA offers an image full of optimism and hope. This is immediately contrasted with the vicious reality of a city gripped in a gangland war.<\/p>\n Examples of this disconnect between image\/reality are littered throughout the opening sequences. Helgeland doesn’t force the juxtaposition, but it is certainly there to be found.<\/p>\n Another technique Helgeland uses to great effect is to bridge scenes by ending with a line of dialogue that introduces the person we are about to see in the new scene. Not only does this help avoid a jarring cut, it serves to link the scenes in the reader’s mind, creating a more cohesive narrative.<\/p>\n Helgeland also creates vivid character descriptions. There is an element of hyperbole to them, which creates a clear understanding of who they are.<\/p>\n Sid Hudgeons, for instance, is described as the essence<\/em> of sleaze. Bud White has a reputation as the toughest<\/em> man on the force. Ed Exley burns<\/em> with ambition.<\/p>\n Another noticable aspect of Helgeland’s introduction of his prinicpal characters is to give them an action extremely early in their screen-time that sums up their character.<\/p>\n Bud beats up a wife-beater – immediately clueing us into his violence and his protective side. The final character introduction to mention is that of Dudley Smith.<\/p>\n Helgeland introduces him in a very positive manner. He is singing a song in a beautiful low tenor, he goes to bed every night as a cop (a fantastic summation of someone who has given a life of service to the force!). He has an unassuming name – Smith…<\/p>\n All this helps to get the reader onside with the character. But Smith is yet another example of the image\/reality disconnect.<\/p>\n Helgeland does a fantastic job of efficiently creating the time, place and people we will follow over the course of the movie. Following three protagonists has the potential to make things feel fragmented and episodic, but Helgeland links scenes together well.<\/p>\n In the next post, I want to look at how Helgeland sets up the character arcs, and how he drops enough hints of what is to come, without doing so in an obvious manner.<\/p>\n","protected":false},"excerpt":{"rendered":" SPOILER ALERT: The following series of posts are spoiler-heavy. But, seriously, the movie is from 1997!!! If you haven’t watched it by now… Orientation:Set in the 1950s, L.A. Confidential follows three policemen, Bud White, Jack Vincennes and<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[57,58,50,8],"tags":[],"class_list":["post-44","post","type-post","status-publish","format-standard","hentry","category-characterisation","category-introductions","category-l-a-confidential","category-learning"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t
Set in the 1950s, L.A. Confidential<\/em> follows three policemen, Bud White, Jack Vincennes and Ed Exley, as they investigate a massacre at the Nite Owl Coffee Shop.<\/p>\n
With a name like L.A. Confidential<\/em>, you’d expect the city of Los Angeles to feature prominently.<\/p>\n
Jack Vincennes shows his priorities are glamour and easy money.
Exley shows his conniving, manipulative streak. He will do anything to advance his career – including ratting on other policemen.<\/p>\n