Review of Chinatown (1974) by Kenneth L — 23 Feb 2011

I remembered that this movie was an engrossing classic, but I had actually forgotten what a devastating and wrenching experience it ultimately is. It's one of those movies where, while no particular element (such as acting, directing, cinematography, etc.) dominates the movie, all of the elements blend together perfectly to create a great film.

Certainly, though, the film's story does form the core around which all of the other great elements converge, and it is an excellent one. More than most original screenplays, I feel like this film's screenplay would work quite well as a novel, too. The plot is very complex, and the movie is smart and subtle in how it goes about revealing its secrets one by one. If you don't already know the movie's big twists, don't let anyone tell you. It's a movie where you have to pay attention, but you are rewarded for it. The ending is one of the most shattering and upsetting endings I've seen in quite a long time.

The acting is also very important for the film's overall quality. Jack Nicholson is in every scene as detective Jake Gittes, and his performance is surprisingly reserved and measured. Gittes can do the classic noir tough-guy detective role when he has to, but most of the time is a bit more toned-down and human than your average noir detective. Nicholson's performance is especially impressive since many of his scenes are without dialogue, and we just have to figure out what he's thinking by watching him. Faye Dunaway is very good as the femme fatale, and if you're seeing the movie for the second time you can see layers to her performance that weren't apparent the first time. John Huston is great as a wealthy old land developer who appears very nice but simultaneously is a bit creepy.

It's also just a really well-made period film. The 1930s sets and costumes and everything are great. Roman Polanski's direction keeps the film moving at a deliberate pace - not too slow, but not too fast, at least until the end when it all just comes crashing down at once. Interestingly, I think it actually doesn't re-invent or subvert or question the classic 1940s noir conventions that much - it simply uses them as elements in telling its story. The Netflix jacket refers to the movie as a "neonoir," but I wonder just how "neo" it really is. Also: great, memorable final line, even if it is a throwaway line plot-wise.