Chinatown at 50

The cover of my DVD of the film.

Chinatown is probably the greatest noir genre movie ever made. Complements of the gifted Robert Towne, the film features one of the greatest screenplays ever written. This is supported by masterful direction from Roman Polanski, who adeptly manages powerful performances by three actors at the top of their game: Jack Nicholson, Faye Dunaway, and the great John Huston (the latter known more for his directing than his acting). All this is supported by a terrific, jazzy urban vibe musical score by Jerry Goldsmith. This mix of superior quality elements delivers a superbly crafted noir story in an exceptional cinematic achievement, one that still holds up very well after 50 years.

The foundation for the enduring legacy of Chinatown lies in its exceptional screenplay, widely regarded as one of the finest ever crafted. Written by Towne, the script's intricate plot, sharp dialogue, and thematic depth have cemented the film's place as a touchstone of American cinema. Towne won an Academy Award for his achievement, despite of the fact that he and director Roman Polanski never agreed on the ending for the film. Ultimately, Polanski shot the ending he wanted against the wishes of the screenwriter. But the bulk of the heavy lifting, the way the multi-layered story unfolds in classic noir style, misdirecting the audience from the true “crime” of the film until the end, was clearly written by Towne.

Director Roman Polanski has an important bit role in the film.  In fact, all the bits are important in this distinctive noir film.

Polanski's character slices Gittis's nose with a knife.  The private detective is being too nosy.

As a result Gittis wears a bandage for about half the film.

From the very first scene, it's obvious that this is no ordinary detective story. Towne's screenplay immediately subverts audience expectations, drawing us into a world of moral ambiguity and hidden agendas. The setup, which involves a woman hiring private investigator Jake Gittes (Nicholson) to follow her husband, Hollis Mulwray (played by Darryl Zwerling), quickly spirals into a complex web of deception, as Gittes discovers that the real Evelyn Mulwray (Dunaway) has been impersonated. His hiring was a ruse. But for what purpose?

That question drives Gittes to dig deeper. As he does so, the plot unfolds with a remarkable sense of precision, each new revelation building upon the last, leading the protagonist - and the audience - into ever-murkier territory. The meticulously constructed narrative is a true marvel, seamlessly blending elements of noir, mystery, and tragedy in a way that few films have managed to replicate. This is a complex whodunnit and, more importantly, a "what was done?" tale that grips the viewer far more successfully than, say, The Big Sleep (1946), which, though also a strong film, is convoluted as hell. It is easy to get lost in the weeds and leave everyone scratching their head. But Chinatown does not do that.  It presents a complex crime labyrinth that is, nevertheless, navigable to the attentive viewer (more so on repeat viewings).

By the end of the film, the viewer realizes (as does Jake) that the original investigation is more of a red herring compared with what is actually happening. There is corruption involving Los Angeles's water works. Noah Cross's (Huston) relationship with his daughter and his “granddaughter” turns out to be more horrific than a viewer suspects to begin with. These revelations, particularly the second one, are shocking and give the film an unexpected gut punch of a conclusion.

Towne's dialogue is sharp, memorable, and perfectly suited to the characters and the film's noirish setting. From Gittes's world-weary quips to the oblique exchanges by the various characters, the screenplay crackles with a sense of authenticity that elevates the material beyond the typical genre fare. The film does not waste a single line of dialog, nor a character, however apparently minor. In fact every piece builds upon all that happens before demanding that the viewer play close attention to the details as they unfold – or simply watch the film over and over to soak it all in.

Gittis meets Noah Cross.

 

Gittis later learns Evelyn Mulray is Cross's daughter.

The two have some chemistry, of course. It's noir after all.

Then there is an almost flawless job of directing by Roman Polanski. Polanski's mastery of tone, visual storytelling, and thematic depth elevates Chinatown as a great American film, cementing its legacy as a timeless classic. He creates a world that feels both timeless and eerily relevant, blending elements of classic noir with a modern sensibility. The sun-drenched exteriors of 1930s Los Angeles are contrasted with the shadowy interiors, imbuing the film with a sense of dread and unease that permeates every frame.

Polanski's visual storytelling is equally remarkable. His meticulous attention to detail, from the framing of shots to the use of light and shadow, encourages the audience to engage with the material on a deeper level. The director frequently opts for wide, deep-focus compositions that place the characters within their environment, reinforcing the idea that they are just small cogs in a much larger, more powerful machine.

This approach to visual composition is not merely aesthetic; it serves to enhance the film's thematic depth. Polanski's judicious use of camera angles and framing subtly conveys the sense of confusion that Jake experiences as he delves deeper into the conspiracy. The director's restraint in moments of violence and tragedy further amplifies the emotional impact, allowing the audience to witness the suffering of the characters without the distraction of over-the-top theatrics.

Polanski's mastery of pacing and tension is another crucial element of in the success of Chinatown. The director eschews quick cuts and frantic editing in favor of a more deliberate, measured approach, allowing the story to unfold at a natural, almost inevitable pace. This measured pacing complements the inexorable unraveling of the truth that Gittes must confront, creating a sense of dread and unease that builds throughout the film. 

Increasingly, Evelyn needs to be observed by Gittis.

 

Cross comes for Gittis.

Cross gets everything he wants in this film.  A chilling depiction of wealth and corruption.

There are numerous scenes throughout the film captured with a single extended camera shot, allowing the acting and shot angle to draw the viewer in. The deliberately slow pacing of the moment helps develop tension and allows the natural dramatic undertones of the script to propel the film forward. There are surprisingly few action sequences in the film as it builds to its climax which is, at once, powerful and fatalistic in a classic noir fashion.

Equally crucial to the film's success is Polanski's integration of Jerry Goldsmith's haunting, jazz-inflected score. The director worked closely with the composer to ensure that the music perfectly complemented the visual and narrative elements, creating a seamless synthesis that enhances the overall mood and atmosphere of the film.

Perhaps most importantly, Polanski's insistence on maintaining control over the final cut of the film was crucial in preserving the director's singular vision. His refusal to compromise on the film's bleak, uncompromising conclusion is a testament to his commitment to his artistic principles, and it is this unwavering dedication that solidify the status of Chinatown as a true cinematic masterpiece.

Polanski's job is made somewhat easier through the work of the film's outstanding cast. Chinatown features exceptional performances by its principal cast, each actor delivering a masterclass in subtlety, complexity, and emotional resonance. From Nicholson's world-weary yet savvy private eye to Dunaway's haunting portrayal of Evelyn Mulwray, and Huston's chilling turn as the ruthless Noah Cross, the film's acting is a key component in cementing its elite status.

Nicholson's portrayal of Jake Gittes is a study in subtlety and restraint. Rather than falling back on the more flamboyant persona that the actor is often associated with, Nicholson instead crafts a performance that is marked by a subtle transformation, as Gittes slowly becomes increasingly troubled by the depth of the corruption he uncovers. Nicholson's natural charm and wit are on full display, but he deftly balances these qualities with a growing sense of weariness and cynicism, making Gittes a fully rounded, emotionally complex protagonist.

Dunaway's performance as Evelyn Mulwray is equally masterful, imbuing the character with layers of vulnerability and complexity that defy the typical femme fatale archetype. Dunaway's Evelyn is a tragic figure, caught in a web of deception and tortured by her own past. The actress expertly conveys Evelyn's fragility and desperation, while also hinting at the steely determination that lies beneath the surface. Dunaway's chemistry with Nicholson is electric, and their scenes together crackle with a palpable sense of tension and mistrust.

In a stroke of inspired casting, Houston delivers a chilling portrayal of Cross, the film's primary antagonist. Huston's performance is marked by a quiet, charming, grandfatherly demeanor that belies the true darkness of the character. The actor's commanding presence and subtle menace create a deeply unsettling figure, one who embodies the systemic corruption and moral decay at the heart of the film. Huston's Noah Cross is not merely a villain; he is a symbol of the pervasive power structures that shape the world of Chinatown.

Chinatown is exceptional in the way it subverts and elevates the conventions of the noir genre. Nicholson's Gittes, for instance, is a more emotionally vulnerable and empathetic protagonist than the typical hard-boiled detective, while Dunaway's Evelyn Mulwray redefines the genre's female stereotype into a tragic, sympathetic character.

The chemistry and interactions between the actors are equally crucial to the film's success. Nicholson and Dunaway's on-screen interaction is dynamic with tension and unspoken attraction, while Nicholson's scenes with Huston's Cross are marked by a palpable power imbalance, with the younger, somewhat more idealistic Gittes struggling against the older, more entrenched yet hidden corruption embodied by Cross.

In Chinatown, Gittis and Cross have competing narratives for the detectives.

 

Cross finally sees his "granddaughter."   Evelyn had hidden her daughter in Chinatown.  The two argue over the girl.

Evelyn shoots Cross and tries to escape with her daughter.  The detectives stop her from getting away. Gittis helplessly looks on.

It is interesting to note that, while the word “Chinatown” is mentioned several times throughout the film, the vast bulk of the picture takes place outside of that neighborhood. Chinatown is more a “state of mind” pervading the film than physical location. Its impact is more nostalgically psychological and atmospheric than physical. While the actual neighborhood of Chinatown is only briefly glimpsed at the film's conclusion, its presence looms large over the narrative, serving as a profound symbol of the moral ambiguity, corruption, and futility that define the world inhabited by Gittes and the other characters.

Chinatown is first mentioned early in the film, as Gittes recounts his past experience working as a police officer in the neighborhood. There he encountered a place where his efforts to help only seemed to make matters worse. This sets the stage for Chinatown to become a metaphor for the broader challenges and frustrations that Gittes will face in his investigation.

As the plot unfolds, the references to Chinatown become increasingly laden with symbolic significance. Evelyn's simple question, "What did you do in Chinatown?" prompts Gittes to respond, "As little as possible," further reinforcing the idea of Chinatown as a place where moral clarity and effective action are elusive. Gittes says this because he could not ascertain whether his interventions were helping or causing more harm, much like the situation in which he inadvertently finds himself during his current investigation. The character's past experiences in this neighborhood have left him scarred, instilling a distinctive sense of gritty resignation that foreshadows the tragic events to come.

The film's climactic scenes, which take place in the literal Chinatown district, offer us the ultimate embodiment of the metaphor.  Gittis watches helplessly as Cross ends up getting everything he wants at the end of the film.  Gittis ends up with only the horrific revelation to questions he did not even begin to ask until very late in the film. The film's final line – "Forget it, Jake. It's Chinatown." – encapsulates the sense of futility and inevitability that pervades the entire story, as the protagonist is forced to confront the harsh reality that some forms of corruption are simply too deeply entrenched to be overcome.

The metaphorical use of Chinatown as a place (as a state of mind) where moral complexity and contradictions reign supreme is further reinforced by the character of Cross, whose deep involvement in the conspiracy and ties to the past in Chinatown add another layer of symbolic significance. Cross's actions, driven by greed and moral decay, echo the broader sense of Chinatown as an almost incomprehensible realm where normal rules and ethics do not apply.

The decision to conclude Chinatown with such a bleak and troubling outcome is a testament to Polanski's commitment to maintaining the integrity of the narrative and the underlying message. Rather than providing a neat, conventional resolution where justice is served and the protagonist emerges victorious, the film instead opts for a conclusion that is marked by a sense of inevitability and despair.

This refusal to offer the audience a cathartic or redemptive ending is a key factor in what makes Chinatown so compelling. The final scenes jolt the viewer, shattering any lingering hopes that the protagonist might succeed in his quest for truth and justice. By denying the audience a sense of closure or redemption, the filmmakers force us to confront the harsh realities of power, greed, and the fragility of the individual in the face of systemic corruption.

This bold narrative choice reflects the film's deeper exploration of moral ambiguity and the limitations of individual agency. Gittes, a character who embodies the classic noir detective archetype, is ultimately revealed to be ill-equipped to navigate the labyrinthine web of corruption that he has uncovered. His inability to prevent the tragic outcome serves as a haunting commentary on the human condition, where even the most well-intentioned efforts can be thwarted by the overwhelming forces.

One of the most chilling lines in Chinatown comes from Noah Cross, who delivers a haunting statement that reveals the core of his corrupted worldview. Cross tells Gittes, "Most people never have to face the fact that at the right time and the right place, they're capable of anything." This cuts to the heart of Cross's cynical lifeworld, which underpins the systemic corruption that permeates the film's narrative. In a few succinct words, Cross lays bare his belief that morality is ultimately relative, and that given the right circumstances, anyone is capable of committing the most heinous acts.

The implication behind Cross's words is that he sees himself as a man who has simply acted upon this universal human capacity for evil. He justifies his own horrific crimes by positing that they are merely the logical extension of the moral compromise that he believes lies dormant within all people.

This chilling perspective contrasts sharply with the more straightforward moral code that Jake Gittes attempts to uphold. Whereas Gittes operates with a sense of ethical conviction, even if it is tempered by his inner cynicism and the realities of the morally ambiguous world he navigates, Cross has abandoned any pretense of morality in service of his relentless pursuit of pleasure, power and control.

The profound impact of this line lies in its ability to encapsulate the film's underlying themes of moral ambiguity, the abuse of power, and the limitations of individual agency in the face of systemic corruption. It is a haunting statement that haunts the viewer long after the credits have rolled, a testament to the depth and complexity of the film's exploration of the darkest corners of the human experience.

Chinatown continues to influence movie making today. The film's complex narrative structure, moral ambiguity, deliberate pacing and character-driven storytelling have inspired countless directors and screenwriters, cementing its place as a true benchmark of cinematic excellence. 

The critical and cultural reception of Chinatown is another factor that contributes to its status as a masterpiece. The film's widespread acclaim, including its 11 Academy Award nominations, is a reflection of its profound impact on the medium. It only won the award for best screenplay, however. Most of the other categories were garnered by Francis Ford Coppola's The Godfather: Part Two which I will review in the near future. That film's elite success in no way diminishes the excellence of Chinatown.

But beyond its accolades, Chinatown has also embedded itself in the collective consciousness, with its iconic lines and fatalistic ending becoming shorthand for the pervasive nature of corruption and the futility of fighting against it. The film has a 98% rating from critics on Rotten Tomatoes and a 93% audience rating. It is currently ranked 162 on the IMDB's Top 250 films, which seems absurdly low, possibly reflecting the fact that younger generations have not seen it yet. It is definitely in my Top 25.

The brilliance of Chinatown lies in its multifaceted nature. It is a film that succeeds on numerous levels, from its narrative complexity and character depth to its visual style and thematic resonance. By weaving together these various elements, Polanski and his collaborators have created a work of art that transcends the confines of genre and time, cementing the film's place as one of the greatest movies ever made.

Chinatown premiered 50 years ago this past June 20. My review missed that date but, as they say, better late than never.

See an in-depth review of the screenplay here. 

There's a great detailed analysis of the film here.  

Another good review of the plot as written in the screenplay is here.

A study of the evil Noah Cross as presented in the film is here.

Various directors and other film crafters discuss the film here.  Possibly the best thing I've seen about it online.

Is it the best screenplay ever written?  See here, here, and here.

(Written with assistance from ChatGPT and Claude.)