• One of the greatest pure narrative films and screenplays in the history of cinema.
  • It is not simply a beautiful mechanism that is set-up and unravels— it sprawls—nuanced and layered. You sometimes hear about a film being “a great novel but on film” and this would quality (though of course it is an original screenplay).
  • A meditation on power, corruption—an intelligent political fog or labyrinth (featuring both incest and water rationing)-that updates (and improves upon) the best detective films of the studio system Hollywood era (superior detective films like Maltese Falcon). It is, first off- a stunning who-done-it.  It subverts and examines and redefines the genre though not in the same way Altman’s Long Goodbye from the previous year does. This film, with a few changes, could have come out in 1943—Altman’s film could not have.
  • The opening titles are gorgeous but feel a bit pastiche (the last time you’ll feel that way the entire film- the boxy aspect ratio from the 1940’s)—then you go right into the semi-graphic (clearly not 1930’s/40’s) still frame photos of the cheating wife with Burt Young.
  • John Huston is not only perfect as Noah Cross- but a clear nod to Chandler, Hammett– as he’s the director of the Maltese Falcon of course
  • Strong retro-luminous Jerry Goldsmith score—it is one of cinema’s finest musical scores. Complex themes, dissonance,
  • Strong singular split diopter shot at the city hall meeting

Strong singular split diopter shot at the city hall meeting

  • Superior use of period lighting- one great shot at the morgue
  • Another standout is when Jack opens his office to reveal Dunaway standing there against the venetian blinds—it is 1 hour in—door is halfway open- a great frame

Another standout is when Jack opens his office to reveal Dunaway standing there against the venetian blinds—it is 1 hour in—door is halfway open- a great frame

  • Creamy golden hues- the color yellow, orange, cream, brown in the production design and visual scheme – Polanski has every detail right down to the yellow drapes where Jack is snooping around following Dunaway and his night with her.

Creamy golden hues- the color yellow, orange, cream, brown in the production design and visual scheme– the decor, the wardrobe– this is a great shot here of Jack in the color-coated maze

  • The smirk from Jack is so good- overall he underplays the role- mostly, like F. Scott Fitzgerald says he’s a man defined by his actions, but there are moments for Jack that are undeniably Jack—we have him calling the hall of records kid a “weasel” under his breathe. Jack’s “your wife crossed her legs a little too quick” line. “Too tell you the truth, I lied a little”. It is there with the best of Bogart.
  • Polanski and Towne (screenplay) so are patient—when looking through a desk Jack checks (and Polanski shoots) every drawer and what’s inside. It leads to nothing. Towne and Polanski are building a house here
  • The water- brilliant- so important for LA- mythic.  A magnificent shot at dusk at the riverbed. A great “LA is a small town” line—perfect as maybe no actor more associated with LA either at this point than Jack- Mr. Laker court-side

A magnificent shot at dusk at the riverbed

  • The character is impeccably built from a formal standpoint—he never listens—someone tells him to wait and he goes ahead- again and again—

a great pair of shots here

and the choice of color of the car– no mistake

  • “Chinatown” is not only the perfect title- but a key character in the film- a largely unspoken fabled past, theme and undercurrent
  • The period detail and craft involved- such a high level- it’s all Polanski—it is in the service of the narrative and character- but the paranoia is all him. There’s an eerie panic and dread in the air that’s in Rosemary’s Baby, The Ghost Writer and all his best work—it’s a rigged game and our protagonist is helpless against it- powerful evil men and their system—the machine
  • The nose- it not only creates a memorable hallmark— but it works for the narrative- a reminder of the seriousness as we’re chasing abstracts
  • The scene where Nicholson and Dunaway make love is superb—we have the Goldsmith horns form the score and then, another throwback, they cut to his cigarette after—then the overhead shot of them in bed together is spectacular

Nicholson and Dunaway- an absolute acting masterclass

  • Freud and narrative strength here- Dunaway is naked and then when Jack mentions he met her father she immediately covers up
  • The narrative- again, which is perfect- comes back to Burt Young at the end with bookends—similar to the funeral owner in The Godfather– favor is returned
  • Narrative economy- the butler “bad for glass”- line would come back as well with the tide-pool
  • The daughter/sister scene with Dunaway is an absolute acting masterclass
  • Polanski is clearly in love with the period and architecture- it shows
  • Love Noah Cross’ (Huston)’s line about how he wants to own the future
  • The epic finale is justifiably iconic as well… it’s not only the “forget it, Jake. It’s Chinatown” line but the JFK-like head-wound in Dunaway with the haunting horn from the score and then we drift into the sky above Chinatown almost like we’re Dunaway watching

The epic finale is justifiably iconic as well… it’s not only the “forget it, Jake. It’s Chinatown” line but the JFK-like head-wound in Dunaway with the haunting horn from the score

…and then we drift into the sky above Chinatown almost like we’re Dunaway watching

  • A towering Masterpiece