Director: Roman
Polanski
Screenplay: Robert
Towne
Considered a neo-noir upon original release, Roman Polanski’s “Chinatown” now gets considered among the great film noir classics, despite its occasional flare for more colorful dialogue than Sam Spade or Philip Marlowe might have said in their respected films, the film doesn’t feel new-age. It feels as though it was made in the ‘40s, right next to “The Maltese Falcon,” and “The Big Sleep.” Even the movie’s main villain is played by John Huston (who directed among other film noir staples, “The Maltese Falcon,” and "The Asphalt Jungle") as the dictator of the Los Angeles’s water company during a time that there appears to be a drought, but as the private eye, Jack Nicholson’s Jake Gittes seems to think a little differently.
Considered a neo-noir upon original release, Roman Polanski’s “Chinatown” now gets considered among the great film noir classics, despite its occasional flare for more colorful dialogue than Sam Spade or Philip Marlowe might have said in their respected films, the film doesn’t feel new-age. It feels as though it was made in the ‘40s, right next to “The Maltese Falcon,” and “The Big Sleep.” Even the movie’s main villain is played by John Huston (who directed among other film noir staples, “The Maltese Falcon,” and "The Asphalt Jungle") as the dictator of the Los Angeles’s water company during a time that there appears to be a drought, but as the private eye, Jack Nicholson’s Jake Gittes seems to think a little differently.
It
begins with Jake having a mysterious woman appear in her office being very
vague about an assignment she wants done, as most film noirs seem to start out,
a woman entering a private detective’s office. It later turns out that the
person who she claimed to be comes in and demands that the investigation gets
called off. While we’re still thinking who the girl was and why she was pretending to be someone else, the person Jake was assigned to watch, one of the heads of the controversial
water company, mysteriously drowns in the middle of the drought-ridden L.A.,
and now the real Evelyn Mulwray, (Faye Dunaway) also seems to be concealing
more information than she lets on.
The movie’s title is a reference to
something Robert Towne, who’s screenplay earned him an Oscar, although most
credit Polanski’s uncredited rewrites as being more prevalent to the success of
the film, heard a cop who ran the beat in Chinatown say that he tries to
do as little as possible there, because you never know if you’re helping the
good guy or the bad guy. Jake repeats this tale to Mulwray at one point, after
they’ve gotten intimate, talking about his old days as a beat cop, and the
mistake he made in Chinatown many years ago. It’s that confused state of mind
that seems to surround Gittes as he tries to sort through this jigsaw puzzle.
Like how come water is being flooded at night, where is the girl that Mulwray’s
husband was apparently with on the lake in the park, and what does it mean that
Evelyn has a slight discoloration flaw in her eye.
Where this movie turns was
shocking to a 1974 audience, and is still shocking now. This film noir
variation of Oedipus story eventually leads down a dark corner in a part of
town where the rich can get away with anything, and murder, shockingly, isn’t
the worst of it. T
his is the first Roman Polanski film I’ve placed in the
canon, and it probably should’ve been in earlier. Few filmmakers have led such
a dark life, and his films usually tend towards it. He lost his family in the
Holocaust, himself barely surviving, and when he made this film, his wife Sharon
Tate had been murdered by the Manson Family; they were looking for him. When he
finally won his long-delayed Oscar for “The Pianist,” he wasn’t allowed in the
country to accept it, as he was in exile in Europe after fleeing spending time
in prison on a rape trial that, while he was in fact guilty and pleaded guilty ultimately, the execution of his sentence and much of the trial was such an atrocious abuse of the law, even the
D.A. on that case has said he would’ve driven Polanski to the airport if he asked. He was
nearly extradited a few years back after being arrested in Switzerland, but
that didn’t go anywhere. He probably should’ve gotten two Oscars for this film,
both for directing and he should’ve gotten a screenplay credit for rewriting
the script, but like many of his protagonists, he doesn’t seem to ever be in
the position to get the right break.
If one must suffer to be a true artist, film’s
Michelangelo is Polanski.
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