The era of the Valley girl has passed. The Sherman Oaks Galleria, ground zero for all things "tubular" and "gnarly," has been razed and rebuilt. But the heart of "Valley Girl" -- a time capsule of teenage dating rituals and Reagan-era L.A. night life -- still beats true on DVD. This romantic comedy of star-crossed lovers was a launching pad for Nicolas Cage, the Hollywood punk, and a career high for Deborah Foreman, the Valley princess. Many of the clubs and hangouts have changed, but this film, inspired in part by Frank and Moon Unit Zappa's hit song of the same name, heralded the cultural arrival of an archetype that spread from Southern California and quickly conquered all of suburban America. The fashions may have changed, but we are still entrenched in Valley speak. Don't believe me? OMG, you have got to be kidding. LOL!
L.A.'s story is complicated, but they got it
The city has been a main character in many films of the last 25 years. Our film crew picks the best. It's a tough list to crash.
MOVIES
For The Record
Los Angeles Times Wednesday, September 03, 2008 Home Edition Main News Part A Page 2 National Desk 1 inches; 55 words Type of Material: Correction
Los Angeles movies: An article in Sunday's Calendar about the best films of the last 25 years set in the Los Angeles area said of "The Big Lebowski" that Lebowski's mansion was on the Westside. The movie locates it in Pasadena. Also, it said "Training Day" was released in 1991. It was released in 2001.
For The Record
Los Angeles Times Sunday, September 07, 2008 Home Edition Sunday Calendar Part E Page 2 Calendar Desk 1 inches; 51 words Type of Material: Correction
Los Angeles movies: An article last Sunday about the best films of the past 25 years set in the Los Angeles area said of "The Big Lebowski" that the millionaire Lebowski's mansion is on the Westside. The movie locates it in Pasadena. Also, "Training Day" was released in 2001, not 1991.
Whatever!: Producers approached Frank Zappa about using his song as the basis for a movie. When he refused, they made the film anyway. A musical remake using '80s New Wave songs is in the works, meaning the Zappas' single and a movie might finally meet up one day. The way it was meant to be.
-- P.D.
19 "To Live and Die in L.A." (1985)
Fourteen years after "The French Connection," director William Friedkin came back with another street tale about a criminal mastermind being stalked by violent and morally compromised cops. Oh, and don't forget the car chase. Former Secret Service agent Gerald Petievich co-wrote the screenplay with Friedkin, and there's riveting detail to their characters, especially Rick Masters, the world-class counterfeiter portrayed by the artsy and reptilian Willem Dafoe, and the man on his trail, swaggering agent Richard Chance, played by William Petersen, who in later (and far chubbier) years would lead the lab on "CSI."
Early on in the film, Chance loses his soon-to-retire partner (is there a more certain death sentence for a movie cop?) and abandons his already balky moral compass. Truly unexpected plot twists follow, as well as a staggering, wrong-way freeway chase, but the film's most memorable attribute is its cold-asphalt heart, which would echoed in more famous L.A. crime films such as "Reservoir Dogs" and "Training Day." What would have made the film even better? Well, let's just say that everybody shouldn't Wang Chung tonight.
Miami twice: Does Friedkin's use of pop music, undercover-cop tension and glamour grit remind you of director Michael Mann's work? Mann thought so; he sued the filmmakers claiming plagiarism of "Miami Vice," but lost.
