Chinatown (B+ or 3.5/4 stars)
'Chinatown' (directed by Roman Polanski & written by Robert Towne) is a classic neo-film noir detective drama from 1974. It is set in 1937 L.A. and, though it isn't an easy sit, per say, you'll be rewarded by its brilliance in all facets of filmmaking & storytelling; right up to its wow-worthy, if mournful conclusion. A sensational Jack Nicholson stars as Jake 'J.J.' Gittes, an outwardly tough, cynical private eye who, as it will turn out ... is not as thick-skinned as we assume. Sure, Jake can trade barbs with the best of 'em, but he actually cares about the people he is hired to help. Jake's latest case starts when a Mrs. Evelyn Mulwray (Diane Ladd) strolls into his office; asking him to obtain evidence that her husband, Hollis, is having an affair.
Jake does just that and, discovers that the photos he has taken of Mr. Mulwray, the L.A. Water Commissioner, & a pretty blonde named Katherine have been sold to a local paper. Into his office whisks the 'real' Mrs. Evelyn Mulwray (Faye Dunaway), & Jake knows that he was hired by an imposter. When the investigation leads to Hollis Mulwray's drowned body, Icy femme fatale-type Evelyn hires Jake to find the killer of her husband, believing it is likely her charming-but-menacing father, Noah Cross (John Huston), who seems to have quite the checkered past. Noah Cross, who serves Jake a fish with the head on it, is a man not to be trifled with.
The conspiracy Jake uncovers does not involve your typical cinematic noir crime. Instead, crooked tycoon Noah Cross & others are planning an elaborate scheme to dry up the San Fernando Valley by diverting water away from it; then buy-up the land cheaply; then divert the water BACK to the valley so the property becomes fertile & prosperous. Hollis Mulwray had the misfortune of figuring that out and, now Jake, following the same trail, comes to the very same conclusions. But because of his snooping, Jake runs into mortal danger and, a tangled web of corruption, deceit, sinister family secrets is revealed; leading to a morbid finale concerning the corrupt police force, Jake, Evelyn, Noah, & Katherine that all unfolds ... in Chinatown.
This hard-boiled, convoluted tale of human nature, murder, corruption, & gross family scandal is something to behold. 'Chinatown' is more than just a locale, it represents the theme of being wayyy in over your head in something you don't fully comprehend -- and that's dangerous! I mentioned above the word 'convoluted'. What I really mean is that the mystery that includes our cynical private eye, the femme fatale, & a villain weaving a web of malfeasance seems more complex or labyrinthine than it really is. But Towne's script is superb in how it reveals this twisty tale. Said script is clever, inventive & witty {gallows humor here & there}. And while Chinatown's script isn't impenetrable, it requires you to pay attention to every detail.
Jack Nicholson carries this film with ease. We solve the mystery right alongside him and, Nicholson shows off multiple facets of his thespian talent - rough-&-tumbleness, tenderness, quiet intensity, tenacity, & ultimately bravery in the face of danger. Faye Dunaway is terrific, as well; playing Evelyn with the right amount of ambiguity. She is elegant when we 1st meet her, but soon realizes that she is one fragile, crazed, unstable young woman. The late scene where she reveals her pitch dark, shameful secret is a shocker. The script paints Evelyn as not quite who you think she is, and Dunaway is up to task to convey that. John Huston rivets as the thoroughly amoral, villainous Noah Cross, whose seemingly good nature & geniality can't hide the reek of his corruption & appalling ruthlessness. And director Polanski has a chilling cameo as the smirking little hoodlum who slices Jake's nose wide open.
'Chinatown' also shows that a movie doesn't have to be shot in black-&-white for film noir optic tropes & shadows to play an integral role in its visual acumen. Most of the film is shot in early morning or early evening, lending mercurial lighting that cinematographer John A. Alonzo excels at; proving that scintillating color shots can be as powerfully atmospheric as monochromatic ones. 1930s L.A. is also incredibly evoked by way of the authentic set design & accurate costumes {setting the precedent for eventual period film noir classics like L.A. Confidential} -- the look of the film is of California dreams & nightmares. And Jerry Goldsmith's ethereal, haunting music score fits the film's style & unsettling atmosphere, perfectly. 'Chinatown' may not be the easiest 'sit', but if you nestle in to this desperately dark, disturbing cinematic masterpiece, you'll see why it is considered a landmark film of 1970s cinema.
Jake does just that and, discovers that the photos he has taken of Mr. Mulwray, the L.A. Water Commissioner, & a pretty blonde named Katherine have been sold to a local paper. Into his office whisks the 'real' Mrs. Evelyn Mulwray (Faye Dunaway), & Jake knows that he was hired by an imposter. When the investigation leads to Hollis Mulwray's drowned body, Icy femme fatale-type Evelyn hires Jake to find the killer of her husband, believing it is likely her charming-but-menacing father, Noah Cross (John Huston), who seems to have quite the checkered past. Noah Cross, who serves Jake a fish with the head on it, is a man not to be trifled with.
The conspiracy Jake uncovers does not involve your typical cinematic noir crime. Instead, crooked tycoon Noah Cross & others are planning an elaborate scheme to dry up the San Fernando Valley by diverting water away from it; then buy-up the land cheaply; then divert the water BACK to the valley so the property becomes fertile & prosperous. Hollis Mulwray had the misfortune of figuring that out and, now Jake, following the same trail, comes to the very same conclusions. But because of his snooping, Jake runs into mortal danger and, a tangled web of corruption, deceit, sinister family secrets is revealed; leading to a morbid finale concerning the corrupt police force, Jake, Evelyn, Noah, & Katherine that all unfolds ... in Chinatown.
This hard-boiled, convoluted tale of human nature, murder, corruption, & gross family scandal is something to behold. 'Chinatown' is more than just a locale, it represents the theme of being wayyy in over your head in something you don't fully comprehend -- and that's dangerous! I mentioned above the word 'convoluted'. What I really mean is that the mystery that includes our cynical private eye, the femme fatale, & a villain weaving a web of malfeasance seems more complex or labyrinthine than it really is. But Towne's script is superb in how it reveals this twisty tale. Said script is clever, inventive & witty {gallows humor here & there}. And while Chinatown's script isn't impenetrable, it requires you to pay attention to every detail.
Jack Nicholson carries this film with ease. We solve the mystery right alongside him and, Nicholson shows off multiple facets of his thespian talent - rough-&-tumbleness, tenderness, quiet intensity, tenacity, & ultimately bravery in the face of danger. Faye Dunaway is terrific, as well; playing Evelyn with the right amount of ambiguity. She is elegant when we 1st meet her, but soon realizes that she is one fragile, crazed, unstable young woman. The late scene where she reveals her pitch dark, shameful secret is a shocker. The script paints Evelyn as not quite who you think she is, and Dunaway is up to task to convey that. John Huston rivets as the thoroughly amoral, villainous Noah Cross, whose seemingly good nature & geniality can't hide the reek of his corruption & appalling ruthlessness. And director Polanski has a chilling cameo as the smirking little hoodlum who slices Jake's nose wide open.
'Chinatown' also shows that a movie doesn't have to be shot in black-&-white for film noir optic tropes & shadows to play an integral role in its visual acumen. Most of the film is shot in early morning or early evening, lending mercurial lighting that cinematographer John A. Alonzo excels at; proving that scintillating color shots can be as powerfully atmospheric as monochromatic ones. 1930s L.A. is also incredibly evoked by way of the authentic set design & accurate costumes {setting the precedent for eventual period film noir classics like L.A. Confidential} -- the look of the film is of California dreams & nightmares. And Jerry Goldsmith's ethereal, haunting music score fits the film's style & unsettling atmosphere, perfectly. 'Chinatown' may not be the easiest 'sit', but if you nestle in to this desperately dark, disturbing cinematic masterpiece, you'll see why it is considered a landmark film of 1970s cinema.