50 years Later – “Chinatown” (1974)

As a cinephile who has spent countless hours immersed in the rich tapestry of film history, I can confidently say that “Chinatown” stands as one of the most impactful and timeless masterpieces to grace the silver screen. Having revisited this cinematic gem recently, following its unexpected omission from Sight and Sound’s latest “Greatest Films of All Time” poll, I am left with a profound sense of disbelief and disappointment. How could such an undeniably brilliant work be overlooked by the very same esteemed film critics and industry insiders who are tasked with upholding the legacy of cinema?

On June 20, 1974, the acclaimed film “Chinatown” was unveiled, maintaining its classic status for a remarkable 50 years. A blend of traditional film noir and a scathing critique of the elite and their establishments, “Chinatown” garnered an impressive number of nominations: eleven from the Academy Awards, eleven from BAFTA, and nine from Golden Globes. However, its true essence lies in its continued relevance today, showcasing its timeless brilliance.

My last rewatch of “Chinatown” was inspired by Sight and Sound magazine’s most recent “Greatest Films of All Time” poll. For those unfamiliar with it, the poll has been taken every ten years since 1952. A select group of film critics and industry insiders are asked to vote for the ten greatest movies of all time. It has generally been a highly regarded poll partly due to the exclusivity of its voting body. But 2022 brought both controversy and skepticism, with S&S boosting its voters to 1,639 hand-picked participants (there were 145 in the 2002 poll; 846 in 2012). Naturally it resulted in some dramatic and head-scratching changes to list.

It wasn’t the recent S&S list that prompted my rewatching “Chinatown.” Instead, I was surprised to find out it had been removed from the list altogether. This seems like a surprising oversight that could undermine the poll’s credibility, given that movies such as “The Godfather Part II,” “Rio Bravo,” and “Raging Bull” were also dropped. Upon rewatching, I found that “Chinatown” continues to meet all its marks and even left a stronger impression on me this time around compared to my previous viewings. I must admit, Sight and Sound, you seem to have made an error in judgment with this one.

“Chinatown,” directed by Roman Polanski, carries several flaws that might have impacted its S&S (Stars and Stripes) votes, but the film’s inherent quality outshines these imperfections. The Oscar-winning screenplay penned by Robert Towne, Jack Nicholson’s exceptional lead performance (often considered his best), the supporting acts of Faye Dunaway and John Huston, the authentic period design, costumes, and Jerry Goldsmith’s captivating score—all these elements make “Chinatown” a cinematic powerhouse, leaving one in awe.

In the year 1937, Los Angeles serves as the backdrop for the story, where Jack Nicholson portrays J.J. “Jake” Gittes, a private investigator. One day, a woman named Evelyn Mulwray (Diane Ladd) visits his office, expressing her suspicions about her husband, Hollis Mulwray (Darrell Zwerling), being unfaithful. She hires Gittes to confirm this. During the course of his investigation, he discovers that Mulwray holds a significant position as the chief engineer at LA’s Department of Water and Power. As Gittes continues his surveillance, he manages to capture photos of Mulwray with a young woman, which later mysteriously appear in newspapers.

On the following day, Gittes encounters the genuine Evelyn Mulwray (Dunaway), who initiates a lawsuit against him. Enraged by discovering he’s been manipulated to tarnish Hollis Mulwray’s reputation, Gittes and Evelyn negotiate a deal. He agrees to uncover the person behind the scheme, while she drops the lawsuit. However, things are never as straightforward as they seem; an infidelity investigation quickly turns into a web of deceit, urban corruption, and (as is common in classic noir stories) homicide. To make matters worse, there’s a darker, more ominous secret lurking beneath the surface.

As a movie enthusiast with a soft spot for classic noirs, I can’t help but feel “Chinatown” is a perfect fit, seamlessly slotting into the bygone era and nestling comfortably among its esteemed peers that undoubtedly influenced it. However, what sets this film apart is the unique touch brought by Polanski and Towne, elevating it beyond mere imitation.

Then you have Towne’s absorbing screenplay. It has a few signature noir movie twists with everything being revealed at the very end (Interestingly, Polanski added some grit to the ending, changing it up in a way that initially frustrated Towne. Later, Towne would admit that Polanski’s climactic finish was the right choice). But there is so much more to Towne’s dense and complex story. He offers a deep and compelling spin on the California Water War and all the political deception and chicanery that went with it.

In a remarkable display of character development, Towne skillfully crafts each role for Nicholson’s Gittes, a world-weary detective with a sharp tongue and a heart of decency; Dunaway’s Evelyn, a refined and enigmatic femme fatale concealing vulnerability; John Huston as the powerful and wealthy Noah Cross, who exudes charm but hides a sinister nature. Through his sharp dialogue and meticulous detail, Towne breathes life into these characters, allowing them to navigate his intricate plot while simultaneously growing and evolving.

“Despite extensively exploring various aspects, ‘Chinatown’ manages to be remarkably concise. There are no superfluous scenes, empty dialogues, or insignificant moments in this movie. Even though the past misdeeds of its controversial director may cast a shadow over it, Polanski’s direction is filled with depth. I admire how he expects his viewers to keep up. Essentially, all elements that make a film great can be found in ‘Chinatown’. Frankly, any ‘Greatest Films of All Time’ list seems incomplete without this 1974 masterpiece.”

2024-08-07 18:56

50 years Later – “Chinatown” (1974)

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