Chinatown

Truly deserving of its title as one of the greatest films of all time, Chinatown delivers in spades. Everything about the film shines, and it looks better now than it probably did in 1974; of course, there's a lot of junk in the theaters these days. Acting, cinematography, script, atmosphere, it's all 10s baby. The story of a struggling P.I. getting a case that has more twists and turns than a mountain road is still one of the most crafted storylines ever concocted. Jack Nicholson, Faye Dunaway, John Huston, John Hillerman, and everyone else deliver superb performances. Robert Towne's script, John A. Alonzo's camerawork, and Polanski's direction all make this a classic. You can't be a movie buff if you haven't seen this one.

So I finally watched one of the most iconic films ever made. The mystery and suspense in Chinatown is fully-blown as a neo-noir film. It perfectly captures the time period in which it takes place, and its central story is very well-written. The performances are fantastic, the highlight being Faye Dunaway, whose only other performance I have seen is Network and she plays both characters with such precise distinction and force. The cinematography, art direction, and music give it the right mood as well, and the ending is quite brilliant, in fact, perfect. Overall, I don't know if I would say I loved it, but this is a film I can see revisiting in the future no doubt about it.

There is a word, impossible to spell, that describes the alignment of solar bodies like the planets when they all fall into place together. A similar word would describe this film. Everything about it is right. Polanski never directed a better movie. The performers, down to the lowest atmosphere person, are superb. The editing, the score, the sound, the decor, the dialog, all are just about flawless. The photography is peerless. The white garden apartments, the terra cotta roof tiles, the palms and desert sand are all painted with a faint gold, faintly ripe with false promise, like the oranges that bounce from Gittes' desperately speeding car in the northwest Valley.

Polanski deserves much of the credit. When Gittes surprises Evelyn Mulwray in her car, after he follows her to her daughter's house, her face slumps forward and beeps the horn briefly. Then, so faintly, we hear a few dogs bark in the background. Not only is the scene itself exquisitely done but it prefigures the ending, as does Gittes' remark earlier to Evelyn that she has a flaw in her iris. The movie is too good to deserve much dissecting. It stands repeated watching. If there is anything wrong with it, it is the serious and tragic ending that Polanski always insists on tacking on. Robert Towne was right and Polanski wrong in this case. Everything came together on this film. It's not only the best detective movie ever made; it's one of the best movies ever made -- period. A marvelous job by everyone concerned.

I have to add (6/27/05) that the word I mentioned in the first sentence is spelled "syzygy." Man, did I get enlightening email on that. I might as well add two other impressive features of this movie. (1) Polanksi takes his time. Example: Gittes sneaks into Hollis Mulwray's office and begins to go through the drawers of his old-fashioned wooden desk. As he slides each drawer out, Polanksi gives us a shot of their humdrum contents (checkbooks, magnifying glass, and so forth) and we can almost smell the heat and the odor of shellac and sawdust emanating from the wooden containers. The contents reveal nothing of importance in this case. But (2) sometimes irrelevant information crops up that resonates later in the film with its own echo. The detail might be just a word ("applecore") or an ordinary object (a pair of spectacles found in a pond, immediately after Gittes imitates the Japanese gardener's remark that the water is bad for the "glass.") Some of the references may be so consistent as to constitute a theme (water). None of this hits you over the head with its significance. It's all very neatly stitched together.

I knew CHINATOWN was hailed as the paragon of a film noir, and that's why I finally got down to watching it. However, despite having known about the movie for quite a while, I wasn't really prepared for just how dark it could be. The movie starts slowly, with a private detective taking on what looks like a routine case. But soon he finds himself enmeshed in a web of conspiracy, murder, lies and deceit. The plot is like a perfect machine that relentlessly moves towards a final resolution that is truly epic and truly soul-wrenching.

In a recent New York Times piece, they called CHINATOWN "a meditation on evil", which is spot-on. Set in 1937, this movie is just all-round perfect, first and foremost how everything is connected within the grand structure of the movie, that is rich in themes (water, evil, trust, guilt, greed) and even richer in suspense, as the audience—just like our protagonist—tries to find out what is happening. The story is "complex" for sure, but it's not "complicated". Everything makes sense in the end and the complexity pays off big time.

Besides the impeccable screenplay, everything else about this movie is perfect as well. Jack Nicholson and Faye Dunaway carry the movie with sophistication and dignity. Dunaway's stunning performance in particular fills every scene with an aura of mystery as you are trying to find out what her motives are. The set pieces are beautiful, the score is compelling; and camera-work and editing could not be any better. There is a reason this one is called a classic! So, if you're ready to delve deep into a richly layered exploration of the dark side of humanity—enjoy the ride. But don't expect to come back unscathed.

If it wasn't for the fact that most of the cast would have been too young or not born yet, this movie could have been made in the 1930's or 1940's. It reminds one of the film noirs that Hollywood used to make during that time period. It is a superb example of film making, certainly among the 20 best movies I have ever seen.

Jack Nicholson is private detective Jake Gitties, who can be as hard-boiled as Humphrey Bogart's Phil Marlowe. But Gitties is different: He is intelligent, dresses well and has associates whom work with him. Gitties is hired by Evelyn Mulwray (Faye Dunaway) to investigate into an extra-martial affair she believes her husband is having. However, the investigation leads into bigger things involving the water supply of Los Angeles, which is in the middle of a drought. A series of double-crosses, murders and plot twists all lead into a climatic showdown in Chinatown which has a surprising conclusion.

If the saying `They don't make them like they used to' was ever more true, it was with this movie. Sex is only suggested between the Nicholson and Dunaway characters, yet it is convincing enough. And although Faye Dunaway is a beautiful woman, we never see frontal nudity of her (Directors today would do just the opposite). Some of the plot twists also would not be possibly made today, especially the ending (Which, if you haven't seen the movie, I cannot reveal).

Nicholson is a tour de force in his role as Gitties, but the rest of the supporting cast (Including John Huston as Mulwray's deceptive father) is equally superb. As to how Nicholson could loose the Best Actor Oscar to Art Carney in Harry and Toto is beyond me. Faye Dunaway was also nominated for Best Actress, only to loose to Ellen Burstyn for Alice Doesn't Live Here Anymore. Fortunately, Nicholson and Duanway have both won Oscars since. In addition, the film itself received nominations for Best Picture and Best Director for Roman Polanski (Who has a cameo in the movie as the knife-welding thug who cuts Nicholson's nose), but those Oscars would be lost to The Godfather, Part II. The only Oscar won was for Robert Towne's screenplay, which is today considered the model for film writing. After watching the movie, one will know why. From the stellar performances to the sharp direction to the superb screenplay, this is a cinema treasure.