Review of Chinatown (1974) by John W — 12 Dec 2011

Roman Polanski's Chinatown is a real slow burn of a film, a private eye mystery tale that slowly builds up to its climax over the course of its 130-minute runtime. And ultimately, it took the entire runtime of the film for it to truly win me over.

But once it reached its final crescendo, the film completely had me in its grip. Polanski's homage to film noir of the 1930s and 40s is a classic caper film, a loving ode to oldies cinema that reminds us of a time long before the rise of the summer action blockbuster.

From its brilliant, Oscar-winning script by Robert Towne, to its beautifully shot cinematography from Scarface photographer John A. Alonzo, to the brilliant set recreation of a 1937 Los Angeles, to Polanski's expert direction and staging of drama and suspenseful scenes perfectly interspersed to create perfect pacing, until the final seconds of the film, the thing is damn near perfect.

Ultimately, though, the ending left me slightly cold, with the film, despite its excellent buildup, feeling unresolved. Nevertheless, the cast put in fine work. Jack Nicholson gives one of the most subtle, and by consequence resounding, performances of his career, becomes less and less "Jack" and more P.

I. Jake Gittes. Faye Dunaway also delivers a memorable performance as Evelyn Mulwray, being distant and emotive when need be. Among the supporting cast, the most memorable are John Huston as Evelyn's father and water baron Noah Cross, who becomes unexpectedly dark near the end, Perry Lopez, and Roy Jenson.

One of Polanski's best films, as well as a truly great caper, Chinatown feels just like the noir classics of the olden days, updated perfectly for a modern audience.