Loosely based around the California water wars, Roman Polanski’s
final American film stars Jack Nicholson as Private Investigator Jake Gittes.
Gittes is hired by a woman claiming to be the wife of the chief engineer of Los
Angeles Water and Power as she believes her husband is having an affair. Gittes
uncovers the alleged affair which opens up a twisting tale of deception, double
crossing, profiteering and murder. Often sited as one of the greatest Neo-Noir
and mystery films of all time, it helped to cement Jack Nicholson’s status as
an A List star and nearly forty years on still has a timeless feel and
wonderfully layered curiosity about it.
Although I thought Chinatown was an excellent film I found myself zoning
in and out of it as I watched. I don’t know why though as there is very little
I didn’t like and I think this says more about my frame of mind at the time
than the film itself. Despite my concentration waning, I noted several
wonderful things about Polanski’s classic Noir gem.
Something I really enjoyed was the period setting. The film
had a distinct late 30s or early 40s feel which extended not just to the props
and sets but also the filming style, acting and soundtrack. I enjoy seeing the history
of the city that is cinema’s adopted home and Polanski discovers many great
locations and houses along the way which bring the city’s history to life. Even
the colour palate suits the period and setting down to a tee. The atmosphere
too is tense and sticky, almost claustrophobic at times despite the wide open
spaces found in many of the scenes. Something which really helps to set the
story in its time is the soundtrack, one of the best I’ve heard in a long time.
If you had to describe a Noir soundtrack then you’d pretty much come up with
exactly the one found in Chinatown. Deep, slow double bass in interrupted by occasional
rattles and woodblock before being accompanied by low noted, wondering piano
and bold brass tones. It sounds sublime.
The plot is where I found myself wavering at times. I didn’t
guess any of the twists which is unusual as I tend to have a keen eye for
mystery films. One of the reasons that I didn’t though may have something to do
with my slight boredom. As I mentioned in my opening though I don’t level the
blame at the film on this occasion as I probably wasn’t in the right frame of
mind to watch the film but felt rushed to do so. The plot winds and turns down
blind alleys and is satisfactorily self referencing. Characters who you may
forget about pop back up unexpectedly and there are some nice twists towards
the end. The mystery itself unravels slowly and deliberately, taking its time
to reveal all of its secrets. It also focuses on an interesting subject at an extremely
interesting time for Los Angeles.
Jack Nicholson gives a fantastic performance as Gittes. He
is on screen for every scene and the film is really shown from his point of
view. His presence and power is palpable but the subtlety with which he plays
with the pawns in his game is fantastic to watch. Faye Dunaway is also quite
good but like the rest of the cast is completed overshadowed by Nicholson. The
other star of the film though is Director Roman Polanski. His masterful
knowledge of the genre and setting shines through the lens and onto the screen
and the credit for the film’s success rests firmly on his shoulders. Robert
Towne’s script though is what brings the film together and is something I want
to revisit as I don’t feel as though I gave it my full attention.
8/10
I agree with you about the look of this movie being incredible and I don't blame ya one bit for being a bit bored while watching this I think if you saw this in theatres you might be able to get into the story a little bit more, but maybe not.
ReplyDeleteIt's often distracting to watch a movie at home. That's why I go to the cinema whenever I can.
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