Retro Film Review: Chinatown (1974)

Retro Film Review: Chinatown (1974) | Ecency

(source: tmdb.org)

Every now and then we hear about Hollywood studios trying to revive particular genres that used to be popular in past only to be utterly unfashionable and outdated in present time. Renaissance of the western in early 1990s is one of such examples. However, this phenomenon isn't something that could be associated only to modern times. In 1970s, the decade that is referenced as the Golden Age of modern American cinema, Hollywood tried to revive the old and forgotten genres. And, same as in the latter years, such attempts were rather short-lived, manifesting only in a handful of titles. In mid 1970s such thing occurred with film noir, genre that got its first modern update through Chinatown, 1974 thriller by Roman Polanski.

The plot of the film, based on "Oscar"-winning screenplay by Robert Towne, takes place in Los Angeles in the late 1930s. Jake J. Gittes (played by Jack Nicholson) is the private investigator specialised for detecting extramarital affairs. His services were hired by the wife of Hollis Mulwray (played by Darrell Zwerling), Los Angeles water commissioner. Gittes gets to work and soon finds Mulwray in compromising positions with young lady. When those photographs appear on the front pages of tabloids, Gittes gets nasty surprise - Mulwray's wife Evelyn (played by Faye Dunaway) is not the same woman who hired his service. Feeling humiliated by the trickery, Gittes continues investigation on his own, and when Mulwray becomes the victim of apparent drowning, his widow hires him to find eventual perpetrators. The investigation uncovers many details that indicate massive real estate fraud involving tampering water supplies in the middle of drought and sinister character of Noah Cross (played by John Huston), business tycoon who used to be Mulwray's partner and father-in-law.

Many critics and films scholars claim that Chinatown is the best film noir ever made. Others claim that Chinatown is the best film in the long career of Roman Polanski. Some claim that Chinatown is the best or at least one of the best films made in 1970s. Such overwhelming chorus of appraisal can sometimes be quite damaging – the expectations for first-time viewers are set too high and each and every minor flaw turns into major disappointment. However, the author of this review experienced rather interesting phenomenon. I was too somewhat disappointed with Chinatown, but I nevertheless needed some time to explain such disappointment to myself.

At first glance, it seems that all worshipers of Chinatown are right. The period feel of late 1930s Los Angeles is superbly recreated with the clever use of costumes, props and production design. Photography by John A. Alonzo, with domineering sepia tones adds another dimension to the film noir genre - colour and sunlight. But nothing is bright or sunny in this film - the visuals provide sharp contrast to the dark, depressing story. Screenplay by Robert Towne looks like a real "Oscar"-winning material - classic murder mystery co-exists together with political intrigue and more intimate, yet nevertheless earth-shattering drama. Towne's Los Angeles is a place populated with imperfect characters, faced with utter corruption and depravity, and, more than anything else, frustrated with the knowledge that they can't do anything about it. Feelings of doom and helplessness, sentiments not very different from the moods in cynical, disillusioned post-Vietnam and post-Watergate America, are prevalent throughout the film and they manifest in some truly shocking scenes (consequences Jake's encounter with knife wielding thug, played by Roman Polanski, and Evelyn's confessions are some of the examples). It all finally erupts in the last scene, one of the most shocking, brutal and earth-shattering endings in the history of cinema.

Naturally, the acting is great. Jack Nicholson is truly great in the role which seemed tailor-made for Humphrey Bogart; his Jake is sensitive man who tries to hide his troubled past with toughness and cynicism. Faye Dunaway, although not quite in the league of the great femme fatales of film noir, seems quite capable for her role of woman with hidden agenda. But the truly outstanding performance was given by John Huston - few actors were so convincing in portrayal of uncompromisingly and openly evil characters. The supporting cast was also up to the task, including Diane Ladd in the small but memorable role of the actress, while Burt Young provided truly memorable performance in the beginning of the film (brilliantly spoofed in Who Framed Roger Rabbit? fourteen years later).

Chinatown is undoubtedly a very good film, but not perfect. Although some claim that this film gets better with each subsequent viewing, the author of this review never experienced that. On the contrary, some of my earlier misgivings about Chinatown got validated. For example, while complicated plot ties political corruption to more intimate forms of depravity, the connection between the two in the actual film is not very clear. Many elements of character background are missing, including the protagonist's troubled past in Chinatown. There were simply too many loose ends in the story, and the finale, no matter how brutal it is, simply didn't tied them all together (which Nicholson tried to do fifteen years later in the sequel The Two Jakes). Finally, the music soundtrack of Jerry Goldsmith is fine, but nothing special, at least for high standards of that particular composer.

However, those who want to experience Chinatown for the first time shouldn't feel discouraged by my lack of enthusiasm. Despite the overhype, it is still a very good piece of film noir and it should be recommended even top those viewers who aren't fans of that particular genre.

RATING: 7/10 (+++)

(Note: The text in its original form was posted in Usenet newsgroup rec.arts.movies.reviews on October 20th 2000)