Chinatown Reviews

Classic Jack

Jack Nicholson is in danger of being remembered as a snarling, gurning, eyebrow-wriggling loon, chewing up scenery and gloriously overacting his way through some otherwise forgettable films. Which would be a shame, as he is an incredibly talented actor, and in more types of roles than some might imagine. One of these roles is that of Jake Gittes in Chinatown, a dour and bleak detective story and probably Polanski's finest film. What seems to be a routine adultery investigation spirals into a wide-reaching conspiracy somehow connected to water supplies, which Gittes uncovers to his cost as his investigation continues. Evocative, brilliantly observed, and made with meticulous attention to detail, the film is a real slow-burner, with Nicholson as it's centre, doggedly searching for the truth as the intrigue deepens. The ending is also justifiably famous - whether you agree with Polanski or not, his downbeat and pessimistic ending certainly has resonance.

Chinatown's A State Of Mind

I have been waiting to see this film ever since I saw Robert Evans’ autobiographical (though not exactly factually accurate) documentary "The Kid Stays in the Picture" and despite my high expectations I was not disappointed.

The film is held together by Jack Nicholson’s perfectly judged and possibly best ever performance. He holds back for most of the film relying on facial expressions and body language to express his emotions. Despite being film noir most of the action happens during the daytime and at times Polanski slows down the pace so the viewer can think along with Nicholson’s character and take in the environment he is in. The script by Robert Townes is close to perfection, reminiscent in its maturity and black humor of the novels of James M. Cain and Raymond Chandler. The dialogue itself is fantastic, fueled by grit and cynicism and wholly engaging. Dunaway is perfectly cast as the female lead and John Huston creates a truly terrifying character in the role of Noah Cross that belies his actual screen time. Ultimately Chinatown is Jake Gittes own personal hell. A place, not only where wrongs can never be righted, but also where he is the unwitting catalyst of the horrors he is trying to prevent. The ending has been much debated (especially as this was Polanski’s first film following the murder of Sharon Tate) but personally I found it the perfect conclusion to Gittes story. Forget it Jake, it’s Chinatown.

CHINA!

As a intricate, detailed detective story the film is an above-average work, with Towne's script containing the maturity, and wicked sense of humor, of a James M. Cain or Raymond Chandler novel. When the thrills come they come as being striking. And when humanity and compassion get thrown into the mix, the film reaches a whole other plane of intelligence. The last third of the film could turn off some of the audience (depending on one's own level of belief), but it holds strong thanks to the performances. Nicholson doesn't over-step his bounds in any scene, finding the right notes in suggestive conversations. Dunaway is better than expected (though I'm not sure if it's an great performance). And Huston's Noah Cross is one of the more disturbing villains of that period in movies. Add to it some good cameos (Burt Young as a driver, Polanski playing the little guy in the infamous 'knife' scene), and a smooth soundtrack by Jerry Goldsmith, Chinatown comes out as strong piece of moviemaking, and arguably one of the greatest in the crime/mystery genre. A+

30 years old...

...you wouldn't believe it.

Despite weaving a path since trodden by endless Columbo-esque hacks and private eyes, this film remains startilingly original and fresh, mainly due to good'ol Jack, who is quite simply mesmerising from start to finish.

Full of classic moments and images, and a quite unexpected ending, this had me captivated throughout - it's a timeless work of art. Really, there's nothing to complain about here...unless you're aware that there's a sequel of course. But we don't talk about that.

Realistic

The thing I like most about this film is its realism, you are hard pushed in the modern day to find a film that can carry its narrative without having hundreds of deaths and gouts of blood which tends to belittle the orignial death that gets the story started in the first place.

Chinatown is a cleverly constructed film that sets the bench mark for the thriller genre and in which the plot will literally keep you guessing until the end. (it is also important to note that this is Jack Nicholsons best film alongside 'One flew over the Cuckoos Nest')

P.S. If you enjoyed 'L.A Confidential' this is the film for you.

[Highly rated reviewer]

This film has the reputation as one of the best of the 1970's. That may be, however, it is far from being a classic of the film noir genre. There is a Raymond Chandleresque script by Robert Towne that gives Jack Nicholson some great lines of the sardonic variety. Still, his performance, though good, does not compare well against Bogart in, for example, 'The Big Sleep'. And Faye Dunawaye is put through some emotional contortions that did not convince this viewer at least. Nice to see John Houston play the nasty guy as charming and Polanski's direction is persuasive. The period feel of the 1930's is particularly impressive. The Chinatown of the title is not much in evidence until the closing scenes of the movie and the story of corruption in the Los Angeles Water & Power Company is scarcely of earthshattering interest. Well worth a look though, especially if you are a fan of film noir. Me, I still prefer the black and white 'originals' of the 1940's and 1950's.

Style, humour, smart acting

A very stylish moivie, beautifully shot. The story may be a bit over long and takes its time in getting moving, but builds to a fitting climax.

Gripping thriller by Polanski

Jack Nicholson is in fine form as Jake Gittes, a private investigator charged with investigating the infidelity of the water commissioner in 1930s Los Angeles during the drought. As his investigation continues and the bodies start to pile up, he uncovers a conspriacy of wealthy landowners to make millions of dollars by annexing drought riddled land.

Nicholson is fantastic, giving the role the necessary charisma and edge. The film was made during Nicholson's finest acting period where he starred in some of the best films of the decade (Five Easy Pieces, The LAst Detail and One Flew Over the Cuckoo's Nest). Polanski's direction is the perfect showcase for Nicholson, giving a real feelfor 1930s LA before it became the amorphous blob that it is today. Its a shame that his own personal circumstances took him away from Hollywood as it was poorer for his absence.

What's so special about it

I don't think I've ever seen a 'good' Roman Polanski film; but this is probably the closest. It's a watchable Chandleresque detective story but I'm genuinely puzzled why it's so highly regarded. The encounters with the boy on the horse, and the barber shop scene are just two of several examples where there doesn't seem to be any directorial input at all.

The cinematography is excellent, and Nicholson is good in his role; but the women all look the same and none of them are particularly noteworthy. Polanski can't act, and his appearances are jarring. In the end I'd far rather watch a classic noir from the forties.

How does Polanski get away with it?

Having previously found Polanski to be a director of little talent I watched Chinatown, his "masterpiece", with eager anticipation as I waited to see the film that would change my opinion of him. Far from doing this it cemented my view of him being a mediocre director with nothing of any value to say.

The ending had potential to be great yet there was no build up to it happening and left me with little reaction when it had passed. Jack Nicholson was, as usual, superb. His performance was the only positive thing I could really take from this film which negates the good name of the film noir/detective genre. There were many twists but you were never given enough information in the first place to truly see where they were coming from or appreciate them until after they had happened.

This film served only to highlight corruption in a sleazy world of fat cat bribery whilst trying to disturb the viewer through violence and incest. Despite the fact I think viewer disturbance is often necessary it just wasn't needed here.

Polanski should hang his head in shame and maybe go back to film school - assuming he ever went.