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ACTOR
Scott PlankAlex McArthurMichael RookerEly Pouget
DIRECTOR
Michael Mann
SYNOPSICS
L.A. Takedown (1989) is a English movie. Michael Mann has directed this movie. Scott Plank,Alex McArthur,Michael Rooker,Ely Pouget are the starring of this movie. It was released in 1989. L.A. Takedown (1989) is considered one of the best Action,Crime,Drama,Thriller movie in India and around the world.
Tough Los Angeles cop Vincent Hanna takes on a gang of professional bank robbers led by the precise, enigmatic Patrick McLaren.
Same Actors
L.A. Takedown (1989) Reviews
So there's something to be said for remakes after all...
Most people who see L.A. Takedown nowadays will see it for one reason: the fact that director Michael Mann remade this as Heat starring Robert DeNiro and Al Pacino in the Alex McArthur and Scott Plank roles. And that is basically the only reason why you would want to see this, unless you're an avid fan of '80 cop shows (there's even an detective-on-the-prowl-style montage). When you watch this as I did (after seeing the brilliant Heat) you'll be pretty surprised by how much of L.A. Takedown went into Heat. From the opening heist to that famous coffeebar scene, a lot in both movies is identical, from characters to dialogue to camera angles. Most differences between both films are actually additions (which, of course, make Heat a good hour longer than L.A. Takedown). The Chris Shehirlis character (Val Kilmer in Heat) is basically an extra in L.A. Takedown as is the getaway driver for the bank robbery. Ah yes, the bank robbery. It's present here too, although of course, it doesn't last for nearly fifteen minutes (try three). Then whole subplots from Heat (for instance the one featuring Vincent Hanna's daughter) are absent and the ending is quite different, causing L.A. Takedown to lack the almost epic feel of Heat. Still, a lot of what is L.A. Takedown went on to become Heat. And that's why L.A. Takedown merits viewing; to see how this film evolved from a cheaply made, averagely entertaining TV pilot show to what may just be the crime movie of the nineties. Many of the differences concerning the script I've already mentioned. The other main differences lie in acting and direction. To say that someone named Scott Plank (yes, plank) is not up there with Al Pacino is hardly surprising. But Plank is really pretty embarassing in this, coming across as someone who's copying crap TV-show acting like that from shows such as Hunter or Miami Vice. Even more embarassing is McArthur, who doesn't succeed in bringing any of his character's complexity to light (his character is actually pretty well developed in the script, which makes McArthur 'performance' even worseand it's the only character whose name was changed for Heat - don't ask me why). The rest of the cast isn't even worthy of comparison with their Heat counterparts. As for directing, L.A. Takedown actually lookes pretty good, given that's it's a cheap TV movie. As said, some camerawork is very literally repeated in Heat (the opening heist is just one example), but L.A. Takedown is more coloured than Heat. Heat may be very stylised, the reality aspect of it was never looked over. In L.A. Takedown the stylism is present, but the realism takes a back seat, as dark streets and dim lights convey the traditional view of L.A. as a seedy place. But although the technical brilliance of Heat's cinematographer Dante Spinotti is clearly missed, L.A. takedown is visually not that bad. In short: L.A. Takedown is not a good movie, and by itself not even remarkable. It is however a very interesting companion to Heat and both movies combined show that what you should remake is bad movies with unused potential, not good movies. Rating: 4/10 (Heat: 9/10)
LA Takedown = Mann's blueprint for Heat
This is the original version of what we now know as the modern classic Heat. If you watch LA Takedown and Heat, you will see many of the scenes paralleled. LA Takedown is not a great movie, but it does make an interesting companion to its superior counterpart. Worth watching for this reason alone.
Magic Mike again delivers, taking you downtown
I must say, this original 'Heat' where the remake was more universal with bigger name actors and went into more of the character's lives, whatever, still didn't disappoint. It actually went higher than my expectations, and this being a Michael Mann film too, I should of known better, leading me to wonder that this lower profile 'Heat' pic surely didn't deserve the obscurity it must of had, sitting on the video shelves for years. The two leads are excellent, which again, had me underestimating it, especially McCarthur's performance of our A1 solid professional thief/robber, who he plays straight serious right down the line. I enjoyed him much more than seeing De Niro doing it to be frank. When seeing Pacino do hot shot dick, Hanna, in the remake, Plank, an actor who sadly isn't with us anymore, where I had seen him in some other stuff is far different, from Pacino, his interpretation here I found, mystifyingly exciting, where he brought something with it too. He's definitely someone you don't toy with, as by example in a few scenes, one I thought was hilariously cool like it's leads. I'd rather opt to watch these two than the actor duo in the 96 remake. From the word go, it's typical Michael Mannish, his signature all over this pic, those cool music scores, I never get sick of. That infamous café scene with the antagonist and protagonist, engaged me so much, especially McCarthur again, that same dialogue exchange between the two was beautiful interaction. But what was more engaging, was the pre moment to this scene where outside the coffee house, both parties, who happen to cross paths, are about to draw their guns. Plank smooths the waters, by offering to buy him coffee. The bank shootout/botched job scene was loudly intense, those deafening AK's bringing back the glimpse of a horrid memory, also from 96. Okay, if you've seen Heat like me first, you might be thinking, "Yeah so"? where there's a lot, I mean a lot of identic stuff in this, but remember, this is the original, that inspired the mega hit. Still, this comes off as a success, an underestimated surprise, with a few small differences, what have you, which is remake law, except for 'Funny Games'. Don't let this one slip by, folks, for the two cool leads, and that wonderful Mann direction, which in some ways is unsurpassable, always involving us, where we're part of film too, thanks to this master.
You may be surprised
One might think that this is by far inferior to Heat, the second attempt Mann got at this story, with a larger budget, longer running time and better(and definitely more well-known) actors. Comparisons are impossible to avoid, due to how well-known, popular, and, frankly, excellent the latter of these versions is. And yes, it is greater than this; Michael learned from his experiences making this one, and having watched one of these doesn't mean that it's a waste of time to pursue the other one, no, quite the opposite. And this isn't anywhere near as poor as could be feared or maybe even expected. The performances are nicely done, in a lot of the cases. The male leads do well, and are good casting choices, and that extends beyond those two. Yes, you can tell that this was produced for TV, but it's not as bad as with other movies of that type. The action is pretty decent. This gets some of the drama, and does actually develop characters on both sides of the law. The cinematography and editing are well-done. Pacing is fair. This is only 90 minutes, so about half of what the '95 effort is, and thus can't manage the same level of complexity. Meanwhile, it does well with what it's got. The DVD has biographies and a trailer. I recommend this to anyone who has or is considering watching the famed remake of this. 6/10
An intelligent and gutsy movie
L. A. TAKEDOWN is an extremely watchable film, and has a script that is permeated by a kind of grim intelligence. The characters, far from being plastic stereotypes, actually engage on a psychological level. Michael Mann directs with considerable skill, and most tellingly, knows how to use music to maximum effect. In this respect, his ability at times almost reaches the genius level of the Italian director Gillo Pontecorvo. But main honours in this film must go to Alex McArthur who gives an amazing performance of such skill and power that he actually conveys the very thoughts and feelings of his character through body language or facial expression. The scene where the two protagonists (the hoodlum and the cop) have coffee together is almost faultless in conveying the powerful emotions and tensions that are at work between them, as well as the mind-set which motivates each of the characters, and, for once, the various love scenes are convincing and important to the development of the narrative. Interestingly too, (although it perhaps happened by default since it was a film made for television), the actual violence that is a necessary part of the story is rendered perhaps even more powerfully by NOT being shown, or by happening off-camera. But to my mind, the film belongs to Alex McArthur who turns in one of the best acting performances I have seen in a very long time, which is able to make you both loathe and feel pity for his character at one and the same time. No mean feat!