A BUSINESS ON THE LINE. A FRIENDSHIP ON THE EDGE. A WOMAN CAUGHT IN THE MIDDLE. In 1974 Robert Towne wrote Chinatown, the film that redefined film noir for a new generation with its peerless portrayal of corruption in pre-war Los Angeles. Fourteen years later, he returned to the genre as writer and director with Tequila Sunrise, bringing a distinctly 80s flair to this Casablanca-inspired neo-noir. Dale McKussic (Mel Gibson) and Nick Frescia (Kurt Russell) are two close friends separated by a legal divide. While Dale is a former drug dealer trying to shake the shackles of his past, Nick is a detective investigating a Mexican kingpin smuggling cocaine. Their contrasting loyalties are brought to a head through a shared romantic interest in restaurateur JoAnn (Michelle Pfeiffer) - an attraction that unknowingly drives their friendship toward insurmountable strain. See Kurt Russell, Michelle Pfeiffer, and Mel Gibson light up the screen at the peak of their powers, all set against the pristine warmth of the Californian sun and masterfully shot by Conrad Hall (American Beauty).
Special Features
Booklet, Commentary: Thom Mount, Documentaries: 'From Chinatown to Manhattan Beach', Image Gallery, Interviews: Thom Mount (producer); Robert Roda (2nd AD); Lala Sloatman (actor), Reversible sleeve featuring two original artwork options, Trailers
domino harvey wrote: Thu Apr 09, 2015 11:57 pmTequila Sunrise (Robert Towne 1988) Neonoir was really in desperate straits if this is what was getting labeled as such in the late 80s. Inane cop and criminal buddy / enemy film with no twist too predictable and yet still so dull that they barely constitute as such. Mel Gibson's accent comes and goes in a brilliant bit of self-reflexivity on the transient nature of the film's characters. Or he's just doing a shit job in an unimportant film, whichever. Kurt Russell looks like a child actor trying too hard to look adult. And Michelle Pfeiffer is also in this film and she looks as confused as the audience as to why.
I really love this film. Each of the three leads is fleshed out so beautifully, with no clear delineation between heroes and villains. Plus, it takes advantage of Los Angeles’ beautiful South Bay region, which looks amazing when shot by Conrad Hall
