One of the finest pieces of American cinema...

Rating: 9/10 (30 October 2008)

1974 was just a great year for The Motion Picture. Not only did it produce such works as THE GODFATHER PART II (possible the best movie of ALL time), THE TOWERING INFERNO, LENNY, A WOMAN UNDER THE INFLUENCE, and THE CONVERSATION, but added to that esteemed list is the magnificent CHINATOWN, which is perhaps the finest piece of film noir ever created (save for L.A. CONFIDENTIAL).
Roman Polanski's thriller/mystery is easily the best film of his fine catalog, though some may argue that THE PIANIST was much more powerful. The direction and style are simply brilliant, and every scene of CHINATOWN's ~210 minute run-time is excellent, and serves a purpose in the telling of the story.
The screenplay itself is also excellent, and Robert Towne deserved the Oscar hands-down. There are enough twists and turns here to keep the viewer on edge, and warrant multiple viewings. This film is not for those who find it hard to pay attention unless there is a mindless explosion or chase-sequence every 5 minutes. It is worth noting here that Towne and Polanski had a bitter series of conflicts regarding the ending of the film; a series which Polanski eventually won, much to the delight of film noir enthusiasts everywhere. Towne's ending was less realistic and more pretentious, and years later he realised that the right choice was indeed made.
Jack Nicholson produces perhaps his finest piece of work, arguably even better than ONE FLEW OVER THE CUCKOO'S NEST and AS GOOD AS IT GETS. Indeed this was the film that propelled Nicholson to the level of 'superstar', and rightly so. From the start of the movie, the viewer gets the sense that his character is just another generic, super-heroic, super-smart, invincible P.I. who never seems to falter. However, as the character develops, we see that this is not the case, as we discover that the character is actually human; he feels, he cares, he makes mistakes, he even bleeds.
Faye Dunaway is equally impressive as the 'femme fatale', and her interaction with Nicholson will keep the viewer intrigued and entertained. John Huston pulls off the greedy wealthy 'super-villain' as effectively as any other actor, yet for some unknown reason fell short of an Oscar nomination.
The cinematography and set design are excellent, as Alonzo recreates 1930s Los Angeles in a beautifully flawless manner. The use of colour (which was seen as somewhat 'taboo' in film noirs at that time) was effective, and helped to enhance the picture rather than distract attention from the main plot.
This is definitely a film that deserves multiple viewings as mentioned earlier, so that the viewer can piece together the mystery in hindsight, and discover elements that he/she missed on the first viewing. The film and screenplay could potentially work quite effectively as teaching tools in film/literature schools as the efficacy and power evoked in the direction and writing are top-notch. Indeed, the whole notion of 'CHINATOWN' works not only as a locale, but on a more profound level as a state of mind.
This is altogether a brilliant movie and garners a place on any serious film viewer's Top 100. It should enter mine at #84 or so. Were it not for the supremely excellent THE GODFATHER PART II, this film would have won the Best Picture Oscar, and Roman Polanski would have won his first Best Director Oscar. (Note: He eventually won Best Director in 2002 for THE PIANIST)
4 stars (out of 4). 9/10. Unreservedly recommended.