IMDb RATING
7.8/10
2.9K
YOUR RATING
A documentary on how Los Angeles has been used and depicted in the movies.A documentary on how Los Angeles has been used and depicted in the movies.A documentary on how Los Angeles has been used and depicted in the movies.
- Awards
- 3 wins & 1 nomination
Photos
Encke King
- Narrator
- (voice)
Ben Alexander
- Officer Frank Smith in Dragnet
- (archive footage)
- (uncredited)
Jim Backus
- Frank Stark in Rebel Without A Cause
- (archive footage)
- (uncredited)
Brenda Bakke
- Lana Turner in L.A. Confidential
- (archive footage)
- (uncredited)
Gene Barry
- Dr. Clayton Forrester
- (archive footage)
- (uncredited)
Richard Basehart
- Roy Morgan
- (archive footage)
- (uncredited)
- …
Hugh Beaumont
- George Copeland in The Blue Dahlia
- (archive footage)
- (uncredited)
William Bendix
- Buzz Wanchek in The Blue Dahlia
- (archive footage)
- (uncredited)
Ann Blyth
- Veda Pierce in Mildred Pierce
- (archive footage)
- (uncredited)
Jim Bouton
- Terry Lennox in The Long Goodbye
- (archive footage)
- (uncredited)
Grand L. Bush
- FBI Agent Little Johnson in Die Hard
- (archive footage)
- (uncredited)
James Cagney
- Tom Powers in The Public Enemy
- (archive footage)
- (uncredited)
Lon Chaney Jr.
- Charles 'Butcher' Benton in The Indestructible Man
- (archive footage)
- (uncredited)
John Considine
- Doctor Crawford
- (archive footage)
- (uncredited)
- …
Bill Cosby
- Al Hickey in Hickey & Boggs
- (archive footage)
- (uncredited)
Robert Culp
- Frank Boggs in Hickey & Boggs
- (archive footage)
- (uncredited)
Howard Duff
- Dave Pomeroy in Panic in the City
- (archive footage)
- (uncredited)
Deanna Durbin
- Penny in Three Smart Girls
- (archive footage)
- (uncredited)
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- GoofsThe narration describes architect John Lautner's famous Chemosphere house as "a hexagon of wood, steel, and glass." The Chemosphere is octagonal.
- ConnectionsFeatured in MsMojo: Top 10 Movies to Watch if You Liked La La Land (2017)
Featured review
A most personal view of Los Angeles viewed through the Movies
In much the same spirit as Martin Scorsese's "Mio viaggio in Italia" (1999), Thom Andersen's "visual lecture" on his native Los Angeles is a very personal journey. Because of rights issues involved in procuring clips from dozens and dozens of films, this project is unlikely to ever be seen outside of Museums, Cinemateques, and 'academic' settings, so you will have to actively seek it out if you want to see it. It is worth doing so - with reservations.
Because it is such a personal odyssey, nobody is likely to agree with all of it, and that would suit Director Andersen just fine. I guess I could be categorized as a "tourist who stayed" in the vernacular of Andersen's thesis. I grew up in Boston, and moved to Los Angeles in my early 20's. Therefore, MY LOS ANGELES is different from Andersen's. I don't get my back up when the city is referred to as "L.A.", but Andersen pointedly does. He finds it a derogatory and dismissive term that is used as a weapon by outsiders and tourists. As local film critic Andy Klein points out, Americans don't seem to have the same issue when it comes to the abbreviation "U.S.A.", so why is "L.A." so offensive? And, though many locals DO object, "Frisco", "D.C.","NYC", "SLC"and other similar abbreviations are becoming more and more common in our less literal society.
Some of the clips which Andersen employs last only a few seconds - acting as veritable Still Photos of certain views of the city (representing a variety of eras as well). Andersen is laudably conscientious in identifying ALL the clips used (sometimes this is a distraction; especially in those briefest of shots). Oddly, the brevity of those shots actually spurred me to wish the film were EVEN LONGER (the most common criticism of the film is that it is too long as is). Still, by the end, a remarkable portrait of a city does emerge. But, being the home of "Hollywood" (a term which also rankles Andersen - especially when it is used interchangeably with the main city itself), Los Angeles doesn't seem to exist in the world's eyes as separate from the Film Industry.
The biggest problem with the film is the narration (not Andersen's voice as others have often mentioned). Andersen is given to make sharp declarative sentences, that are too often contradicted not only by reality - but by the clips in his own movie! For instance, he makes a point about the haze over the city and declares that films ALWAYS have a gauzy look when showing Los Angeles - then provides clips which show the sharp sunny vistas (think BAYWATCH) that attract hordes of visitors and tourists. More problematically, Andersen is a 'neighborhood' guy who not only derides Hollywood, but seemingly anywhere west of Vine. For someone who is declaring love for his native city, it is odd that he dismisses vast swatches of it! Curious too, is that Andersen knowingly adopts the view of "outsiders" to the city (and the film industry) as he levies specious arguments to why "Hollywood" is so phony in its depiction of the city. Andersen certainly is better informed, but feigns ignorance to make his point.
The final portion of the movie brings Andersen's agitprop view into focus. To Andersen, racism is the dark underside of Los Angeles. As a so-called 'liberal Westsider', I have sympathy with much of what Andersen espouses (especially his parsing of the term "Nobody walks in L.A."), but it changes the focus of the film (not to mention the explosive and divisive use of a term like "genocide" to define public policy).
Again, one wishes the film were longer in order to explore some of these issues touched upon. Also, Andersen should have done another pass in the editing room. Not in terms of length, but in terms of some of the obvious contradictions in his narration vs. reality/movie clips. And , a cheap shot at George Kennedy (obviously an attempt to inject humor in the dry commentary) is not worthy of such a high-minded project (curiously, Andersen misses an opportunity to needle Kennedy again in a later BLUE KNIGHT clip). On a technical note, I must say I was disappointed that it is a Video Production (as many of the most extraordinary pieces of Cinematography are marred by a fuzzy video-dupe look) -- all the while understanding the financial and logistical reasons it is so.
Because it is such a personal odyssey, nobody is likely to agree with all of it, and that would suit Director Andersen just fine. I guess I could be categorized as a "tourist who stayed" in the vernacular of Andersen's thesis. I grew up in Boston, and moved to Los Angeles in my early 20's. Therefore, MY LOS ANGELES is different from Andersen's. I don't get my back up when the city is referred to as "L.A.", but Andersen pointedly does. He finds it a derogatory and dismissive term that is used as a weapon by outsiders and tourists. As local film critic Andy Klein points out, Americans don't seem to have the same issue when it comes to the abbreviation "U.S.A.", so why is "L.A." so offensive? And, though many locals DO object, "Frisco", "D.C.","NYC", "SLC"and other similar abbreviations are becoming more and more common in our less literal society.
Some of the clips which Andersen employs last only a few seconds - acting as veritable Still Photos of certain views of the city (representing a variety of eras as well). Andersen is laudably conscientious in identifying ALL the clips used (sometimes this is a distraction; especially in those briefest of shots). Oddly, the brevity of those shots actually spurred me to wish the film were EVEN LONGER (the most common criticism of the film is that it is too long as is). Still, by the end, a remarkable portrait of a city does emerge. But, being the home of "Hollywood" (a term which also rankles Andersen - especially when it is used interchangeably with the main city itself), Los Angeles doesn't seem to exist in the world's eyes as separate from the Film Industry.
The biggest problem with the film is the narration (not Andersen's voice as others have often mentioned). Andersen is given to make sharp declarative sentences, that are too often contradicted not only by reality - but by the clips in his own movie! For instance, he makes a point about the haze over the city and declares that films ALWAYS have a gauzy look when showing Los Angeles - then provides clips which show the sharp sunny vistas (think BAYWATCH) that attract hordes of visitors and tourists. More problematically, Andersen is a 'neighborhood' guy who not only derides Hollywood, but seemingly anywhere west of Vine. For someone who is declaring love for his native city, it is odd that he dismisses vast swatches of it! Curious too, is that Andersen knowingly adopts the view of "outsiders" to the city (and the film industry) as he levies specious arguments to why "Hollywood" is so phony in its depiction of the city. Andersen certainly is better informed, but feigns ignorance to make his point.
The final portion of the movie brings Andersen's agitprop view into focus. To Andersen, racism is the dark underside of Los Angeles. As a so-called 'liberal Westsider', I have sympathy with much of what Andersen espouses (especially his parsing of the term "Nobody walks in L.A."), but it changes the focus of the film (not to mention the explosive and divisive use of a term like "genocide" to define public policy).
Again, one wishes the film were longer in order to explore some of these issues touched upon. Also, Andersen should have done another pass in the editing room. Not in terms of length, but in terms of some of the obvious contradictions in his narration vs. reality/movie clips. And , a cheap shot at George Kennedy (obviously an attempt to inject humor in the dry commentary) is not worthy of such a high-minded project (curiously, Andersen misses an opportunity to needle Kennedy again in a later BLUE KNIGHT clip). On a technical note, I must say I was disappointed that it is a Video Production (as many of the most extraordinary pieces of Cinematography are marred by a fuzzy video-dupe look) -- all the while understanding the financial and logistical reasons it is so.
- How long is Los Angeles Plays Itself?Powered by Alexa
Details
- Release date
- Country of origin
- Language
- Also known as
- Los Angeles Kendini Oynuyor
- Filming locations
- Production company
- See more company credits at IMDbPro
Box office
- Gross US & Canada
- $6,945
- Opening weekend US & Canada
- $5,005
- Aug 1, 2004
- Gross worldwide
- $8,182
- Runtime2 hours 49 minutes
- Color
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Top Gap
By what name was Los Angeles Plays Itself (2003) officially released in India in English?
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