70s paranoia meets 30s noir

Rating: Null/10 (15 July 2003)

Little more can be added to the voluminous and completely deserved praise that "Chinatown" has reaped over the years. With the passage of nearly 30 years since its release, one can see how brilliantly the writer, director and actors reflected Watergate-era paranoia using the genre of 1940s film noir. The plot needn't be rehashed here. Instead, I'll focus on the many small details that in combination add up with such astonishing effect: the rich, evil Noah Cross repeatedly mispronouncing Gitte's name, or the slithery and completely unnerving way his arms enfold and drag away a character at film's end; the almost Asian, "inscrutable" look on Evelyn Mulray's face as she turns away from Gittes in bed after Gittes talks about Chinatown; Yelburton's secretary distractedly offering key clues to a "nosy" Gittes; the 2-dollar bill and the ASCAP card in Ida Session's wallet. So many brilliant, subtle touches. I am convinced that this is a movie that could never be made today, so infused with themes of political corruption, greed and even darker personal deeds among the rich and powerful. For lovers of quality film, you'll cherish this one and should watch it multiple times.