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5.0 out of 5 stars
Lays Out a Nice Michael Connelly Itinerary in L.A., May 8, 2007
This review is from: Blue Neon Night: Michael Connelly's Los Angeles [DVD] (CD-ROM)
"Blue Neon Night," a limited edition DVD about author Michael Connelly's Los Angeles, was recently distributed free with purchase of his LA-set book, "The Narrows." Like many others, I got hold of it by waiting on a long line to buy that book, then waiting on a longer line for the author's autograph: he's a really smart, shrewd man, as you might expect, and I've devoted myself, four or more times, on both coasts of the U.S., in New York and at the Los Angeles Times Book Fair, to hearing him speak, and/or getting that esteemed autograph.
But back to the DVD: it can function as a handy introduction to the city of Los Angeles, and lays out a nice Michael Connery itinerary that I've actually followed on recent trips out. The DVD hits many of the city's famous streets and spots, the freeways, Sunset Boulevard, Mulholland Drive, the downtrodden Los Angeles River, around which his book "The Narrows" is centered. Also, the lovely seaside town of Venice; the Bradbury Building, with its intensely intricate interior; the immense mural of Anthony Quinn known as the Pope of Broadway, from its location. Furthermore, and most beautifully, Angels' Flight, a former tramway connecting Bunker Hill, once a fancy Victorian district, then a red-light district, now a high-gloss high-end business district, to the city. Connelly has centered a book, of the same name, on Angels' Flight, and tells us his protagonist Bosch once lived up there with his mother, a prostitute.
Connelly loves his adopted home town, and is eloquent on the subject. He calls it a "sunny place for shady people." He says he writes about its dark side, but also wishes to celebrate it, and that he loves it best at night, when the city is most itself, and gives a good sense of the "random nature of the chaos and danger that lurk within." He's lucky to work in LA, he says; it gives him "a palette overflowing with paint of many colors," and he adds that he likes to "paint to the four corners of the canvas." He adds that LA continues to be a destination city (with a net ingress of migration), functioning as a big casino, to which many people are dream-drawn, though few achieve their dreams. That's what comes of building a gigantic city, based on false hopes and ideas, in the desert, without water, he says. The desert reclaims all. Urban tumbleweeds drift through the streets, predators hide behind the rocks.
Connelly also explains how he came to call his detective Harry Bosch, after the painter Hieronymus Bosch. The painter, he says, painted to all four corners of the canvas, and documented a conjured world of sin, pain, demons and darkness. Connelly is interested not only in how a cop works on a case, but how a case works on a cop. A good detective, he says, must be at home in the world, wherever the world is, and must be able to move fluidly through all layers of society; that, he says, is one reason people enjoy detective fiction, because it takes them places they could not otherwise go.
The video, in addition to Connelly, features William Petersen, star of television's "CSI: Crime Scene Investigation," reading excerpts from Connelly's previous 14 books, and several interesting extras. It has an evocative, moody jazz score, written by George Cable and played by Frank Morgan. Connelly's thoughts about his craft are as absorbing as the video travelogue; it's worth getting this DVD if you can, though I doubt standing on line for it will work any more.
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