Chinatown

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.

Over the years, people have called Chinatown one of the best movies ever. I don't quite agree with that statement, but there is no denying that the movie is a masterpiece. I may not find it one of the best films all-time, but I do find it as one of the best films of 1974. This noir film hearkens back to the days where similar films were produced left and right. But starting from the 1960's, this genre slowly began to fade away. The film may come across as really taking its time to tell the story, but the thriller has lots of tension that builds up to its climatic ending. This film brought public awareness to some issues people may not have really known about. Water is a commodity for human survival and whoever controls the water, controls the money. This movie is a complex series of events surrounding the control of water and that people can die over this issue. Ah, the wonders of being a human being! The movie is a complicated follow, so don't lose yourself in any train of thought, or you might lose what will happen plot-wise. Boasting one of cinema's all-time greatest screenplays by Robert Towne and a powerful lead performance by Jack Nicholson, you are in for a fantastic time.

As I mentioned briefly, the film's plot can be complex as the film will turn down a completely different path in a heartbeat. Jake Gittes (Jack Nicholson) is a private investigator who specializes in matrimonial affairs. One day, he gets a visit from a woman claiming to be Evelyn Mulwray. She tells Jake that her husband is cheating on her and she would like Jake to investigate her claims. He does his job by taking photographs of him and he catches him with another woman. That ensues a scandal and Gittes is confronted by the real Evelyn Mulwray (Faye Dunaway). When the husband shows up dead, Gittes is led deeper and deeper in a web of deceit, lies, and murder.

This movie is given its voice by a variety of elements such as Robert Towne's fantastic screenplay or Roman Polanksi's visionary directing style. But let's not forget about the wonderful performances including the tour de force performance by screen legend, Jack Nicholson. Nicholson's performance is nothing short of excellent as he portrays Jake Gittes. I loved how the movie gave in-depth characterization to this character. Gittes may not be the nicest man in the world, but he's a man of honor and honesty. The movie is all about lies and that forms a rather bleak mental state for Gittes. All we wants to do is find the truth and move on, but that seems impossible to do with all the lies and murder. Nicholson was nominated for an Oscar for his performance, and some might say he should have won. Who can forget that scene at the river bed where he is slashed in the nose by this random creep. Faye Dunaway also delivers an amazing performance. On the outside her character makes you believe she is good, but she has some fishy motives about her. Gittes falls in love with her, but he can't take her sneaky lies. Then we have the performance of John Huston, the legendary director who plays Evelyn's father. His character, Noah Cross is the antagonist of the film one would say as he wants to use his wealth to control the water. That dinner scene between Noah and Jake is quite something. Noah and his mean, beady eyes are put to good use.

This film was directed by Roman Polanski, before he was extradited to Europe and could only make films there. This movie has him returning back to the director's chair, only a few years after the brutal murder of his wife and unborn child. I loved his sense of direction and he really captured the noir feeling you would find in the films of the 1940's. His conflict with the screenwriter Robert Towne became somewhat famous. Towne had the film end with a happy ending, but Polanksi went against that. The ending is not a happy one as we get some unfortunate deaths from the wrong people, but it was an effective ending nonetheless. No matter what, Robert Towne written one of the best screenplays of all time and that will endure for many, many years into our future.

Even though Chinatown is a fictional movie, it's based of the Los Angeles water grab of 1908. This is a city that formed in a desert and it should be impossible for water to exist, which makes the control of the water ever more so fundamental. Towne did a great job adding his own 1930's spin to the story. This movie is undeniably a great film. The pace crawls at times, but the content of the story kept me captivated. This is not an action thriller, but it's one of those slow-burn thrillers focused on telling a top-rate story. The film fires on all cylinders because of it's wonderful acting and solid direction. But we also have a great but sad, trumpet-infused score from Jerry Goldsmith and cinematography from John A. Alonzo that captures the L.A of old in a very effective way. Let's not forget about the award-winning screenplay from Robert Towne. Nominated for 11 Oscars, this film is worth a watch. This is a fantastic thriller that relies upon excellent storytelling.

My Grade: A-

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.

A film about LA and water set in the l930's during a drought with a dark incestuous subplot and some stunning performances by Faye Dunaway and Jack Nicholson, and superb cinematography that seemed to capture the essence of LA. Directed by Roman Polanski, who makes a terrific cameo appearance as a switchblade wielding heavy, and using the considerable acting talents of John Huston as a ruthless and perverted landowner. Read Cadillac Desert to know about LA's water grab but see Chinatown for its brilliant allegory of water and corruption, both public and private. The direction, the screenplay, the acting, the photography, and the soundtrack combine to make a convincing and atmospheric picture. The crushing ending is just so much more icing on the cake.

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.