Cycles Of Counterfeiting This movie has been at the top of my list of favorites since its release.
It was the perfect movie for the mid-80s moment -- the ultimate expression of Friedkin as style triumphalist. Though the jarring techo soundtrack dates it quite a bit now, and the MTV-patterned rapid-fire film cutting was a product of its time, the core of Friedkin's work still holds up.
This is, of course, film noir, most evidently in the way the characters are at the mercy of a capricious fate - the 'invisible vise' alluded to in the theme song. But there's another level that sets this apart.
The entire movie is about counterfeit relationships (as he further explains in the DVD extras), and this extends to our relationship to what we think we're seeing. Friedkin continually twists and contorts the act of -our- watching, momentarily holds us there, then snaps us back into shape.
The effect is unsettling. The prime example is when Dafoe's character is approached by a dancer whose shoulders and arms (seen from behind) are too muscular to be a woman's. They kiss, then in the next shot, the dancer is revealed to be his main squeeze, Feuer. Their sex scenes also have some very, shall we say, unlikely positions for woman to be in relation to a man.
These and many other examples add up to make the point: the viewer's relationship to the movie is a counterfeit one as well, and the effect of Friedkin's manipulation of this is what endures long after the tendentious qualities wear off.
And that car chase. It still is the finest one ever committed to film, as far as I'm concerned. Obviously, Friedkin's goal was to top himself on his "French Connection" car chase, but it goes well beyond that.
Essentially, it is the chase sequence in "Butch Cassidy and the Sundance Kid", right down to the "Who are these guys?" banter, reimagined with cars. The point-of-view flashback to the BASE jump is part of this too. It's only there for a fraction of a second, but it speaks volumes about Friedkin's trust in us to understand the perspective he had in mind. Brilliant.
Also brilliant is the ending, which isn't one. Friedkin had the good sense to ditch the happy "Beverly Hills Cop" ending. He simply looped the visual narrative right back to where we started, with Pankow as Petersen reincarnated, and the cycle spins on...without end.
Other interesting bits...it's remarkable how multicultural LA was at the street level back then, what with all the bodega signs and beer ads in Spanish - you would not see this in a studio production at the time.
Also, the opening assassination attempt on Ronald Reagan (who made public appearances in real life with writer/ex-agent Petievich) is shockingly to the point. The would-be bomber is Islamic and loudly announces 'death to the Zionist villains', in so many words. Try to imagine that, today...CAIR and other grievance/agitator groups would be all over the studio for 'failure to show cultural sensitivity' and 'negative depictions of stereotypes'. My, how we've changed.