What is it about Los Angeles? Or more specifically what is it about celluloid treatments of L.A.? Every landmark cinematic portrayal of the City of Angels revels in exposing the ugly truth behind its glamorous façade.
Curtis Hanson’s L.A. Confidential (1998) offered a view of a city controlled by nefarious thugs scheming under the colour of authority. Polanski’s Chinatown (1974) reached even further back in history to reveal the sinister machinations that helped turn L.A. from a desert wasteland into a sprawling metropolis. The silver screen always remains eager to show us the dichotomy at work in L.A.: for every example of glitz and glamour, there is an equally ugly truth behind it.
Even famous American Literature views the nations’ second-biggest city with a sardonic contempt. Philip Marlowe creator Raymond Chandler penned an image of the city as a cesspool, steaming under tacky neon lights. This urban embodiment of all that is good and evil in the human experience forms the focal point of Clint Eastwood’s Changeling, a disturbing yet masterful account of a mother’s search for her missing son.
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Never short of an annual surprise or two, the New England Patriots recently pulled another shock when they traded rush end Chandler Jones to the Arizona Cardinals for a second-round draft pick and guard Jonathan Cooper.
It was a move confirmed by Darren Urban of the Cardinals’ official site. It was also a necessary risk for both teams.
Arizona’s reward for a gamble is a player who can finally fix an anaemic pass rush that is the only Achilles’ heel on an otherwise strong defense. For the Pats, they’ve earned a second draft choice in Round 2, ample compensation for having to give up their first-round pick. New England also gets an interior O-lineman to help improve the blocking in front of Tom Brady, who is likely still smarting from the beating he took in the AFC Championship.