10
Feb
15

Bad Cops: LA Confidential – James Ellroy

L.A. Confidential (L.A. Quartet, #3)L.A. Confidential by James Ellroy

Set in 1950s Los Angeles, LA Confidential is a gritty, dark thriller about bad people. And they’re supposed to be the good guys.

The book generally focuses on three cops. Bud White is brute, a cop who beats people for information and has a vendetta against domestic assault. Ed Exley is a World War II vet, a cold calculating guy who’s following the career his dad set out for him. And Jack Vincennes is a dirty cop who shakes down musicians and sells stories to a local scandal rag.

All three dislike each other: Bud’s seen as a loose cannon, Exley as a squealer (he ratted out some cops who beat a bunch of prisoners up) and Jack as a self-promoting opportunist, a guy trying to get his name and face out there. Soon all three get caught up in a murder investigation, each investigating different aspects and each trying to sabotage the other.

None of these cops are especially nice people. All three aren’t above lying to and abusing prisoners, to getting in wild shootouts that leave bystanders dead. They plant evidence, beat confessions out of people and drop racial slurs so casually it’s like they’re talking about the weather. They’re as crooked as the criminals they prosecute.

Which is kind of the point in noir fiction, really. The whole genre, going back as far as Hammett and Chandler is subversive in it’s treatment of police, refusing to treat them as paragons of society or even as generally good people. And Ellroy’s novel continues this thread.

Even now, nearly 25 years after it’s publication, LA Confidential is still a brutal read and hasn’t lost any of its ability to shock. It deals with hardcore pornography, underage prostitutes and all kinds of police abuses. The main thread deals with a crime called The Nite Owl Massacre, where a handful of people are shot to death in a diner; before long, this murder involves a whole string of underworld people and incorporates everything from torture to blackmail, too.

Key to its brutality is Ellroy’s deadpan and terse prose. He writes in short, rapid bursts, pushing the plot along so quickly there’s hardly time to stop and look at the collateral damage, the people framed for murder, the innocent bystanders blown away in the crossfire and all the civil rights routinely violated.

In the book, there’s a popular TV show called “Badge of Honor,” a local and heroic look at the men in blue. But Ellroy presents it as another cynical take on policing: they look good, but only on the surface. The actors all have dirty secrets and the policeman adviser is not above shaking them down and blackmailing the actors.

The mystery itself is nicely crafted, if a little hard to follow, but it’s almost secondary to the main stories of revenge and double-crossing, of a divided and compromised police department. By the time one gets the Byzantine lines of crime sorted out, the book’s nearly over and all that’s left is a cataclysmic shootout scene on a prison train. But really, pursuit of this crime just about takes a back seat here and there as Ellroy delves deeper and deeper into back-channel politicking, casual racism and cops pissed at other cops.

While I enjoyed this book, after spending so much time with other noir fiction I found it a bit wanting in a couple respects. It was a dark read, but sometimes felt like it was being intentionally pushed into the realm of shocking, like Ellroy was pushing to provoke readers. For example, take all the vice-related crimes. It’s not enough that someone looks at pornography, but they have to look at graphic books full of gore. Frankly, it’s almost cartoonish in how hard it tries to be disturbing.

Indeed, Ellroy’s treatment of sex in this book is interesting: it leads to vice and debasement, undoes the good men are striving for and, by book’s end, is the root cause of evil in the main villain. I’m not saying Ellroy’s a puritan, but I was occasionally reminded of the way David Foster Wallace treated women: he spends so much time trying to shock the reader it’s easy to miss the reactionary undercurrents.

Rating: 6/10. Recommended for people who enjoy noir fiction and don’t mind books with a lot of shooting. But honestly, I’m more into Chandler’s more darkly cynical take on LA, which feels less cartoonish and less judgey.

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