Review of Chinatown (1974) by Andrew B — 12 Aug 2012

One of Polanski's most accessible films, Chinatown is also arguably his best. Besides being a classic Polanski movie, this film also soldified Jack Nicholson's leading man status and remains the best example of Neo-Noir film in existence.

Set against a stock film noir background; 1930s Los Angeles, Chinatown goes far beyond what makes a simple film noir. Nicholson plays a private detective, who is initially employed to keep tabs on one Hollis Mulwray, a power and water tycoon with friends in powerful places. However he soon realises that his customer isn't who she seems and that the deception in the power and water department goes beyond Mulwary's alleged infidelity.

The film is filled to the brim with twists, turns and dark, seedy secrets. Brilliantly written, performed and directed, Chinatown is damned near perfect, although some people may be put off by it's downbeat feeling.

Besides the dark storyline, Chinatown is also visually quite murky and biege, which might sound like a negative thing, but it actually only serves to add to the film's strong emotional flavour. Sound design also plays a great role here, particularly in regard to the aforementioned water which flows through Los Angeles. Jerry Goldsmith also adds to the film with one of his finest scores, far superior to much of the work he puts out.

Any self-respecting film buff has to see Chinatown, and it's of the breed which such people are likely to fall in love with.