Chinatown

He nose you know! Chinatown is directed by Roman Polanski and written by Robert Towne. It stars Jack Nicholson, Faye Dunaway, John Huston, Perry Lopez and John Hillerman. Music is by Jerry Goldsmith and cinematography by John A. Alonzo. Private investigator J.J. Gittes (Nicholson) is working on an adultery case but quickly finds himself embroiled in murder and corruption. The gathering of Polanski, Towne, Nicholson and Robert Evans (producer) put their respective skills together to craft one of the most lauded neo-noir films of all time. It's a searing picture awash with the staples of the film noir and gumshoe detective movies that graced cinema in the 40s and 50s. From the characterisations (suspicious femmes - mouthy coppers - sleazy kingpin - tough protagonist in a whirlpool of unravelling layers), to the hard boiled script, violence, sex and brutal revelations, it's a noir essential that only lacks chiaroscuro and expressionistic swirls to seal the complete deal. Allegoraries unbound, iconography assured and dialogue now in the lexicon of legends, Chinatown is not to be missed, not just by fans of noir, but fans of cinema, period. 9.5/10

**Great.** I can't say much about Roman Polanski because I feel I've seen too little of his work to make a more global analysis: I have only seen _The Ninth Gate_, _The Pianist_ and, now, this film. It's not much… but the truth is that they are three films that I really liked, and about which I have a very good opinion. This film is very good, fitting into a style that we can call “neo-noir”, insofar as its visual aesthetic is heavily inspired by noir, with the caveats that are due, as it is a color film and not black and white. Polanski is an attentive and meticulous director, who provides the audience with quality work, in which every detail has been thought of. With a story set in San Francisco during the 1930s, the film is very similar to the gangster movies that came out in the 40's and 50's. The story revolves around a private detective, an ex-cop, who is hired to watch a man in what appears to be just another case of adultery. Everything changes when he discovers that the woman who hired him is not a jealous wife. The search for answers will lead him to a web of intrigue and crimes that involves an important Californian company and a public works contract that can be decisive for the city's water storage. It's an excellent story, capable of holding us in the first few minutes and that harmoniously combines tension, romance and suspense, in the right measures. In addition to an excellent story, with a very well written script, the film presents us with a high quality cast headed by Jack Nicholson, at a time when he was still young and elegant enough to play heartthrob roles. The actor is very good and leaves in this film one of the most interesting works of his career. Faye Dunaway is not far behind and is simply wonderful, dignified and elegantly seductive, as a “femme fatale” should be. John Huston (Nicholson's father-in-law in real life, at this time) also appears in the film and makes a very positive and interesting participation. In addition to these qualities, the film also has superb production values: impeccably shot, with great angles and sharpness, it has very good cinematography, beautiful colors and light and shadow effects, in addition to excellent sepia tones that are called reinforcing the dominant "vintage" ambience. The film was a very detailed production, in which special attention was given to the creation of the sets and the choice of filming locations, so that everything fit well into the historical period. The choice of cars (which are important in the course of the plot) and the design of the costumes and props was also very careful. Last but not least, a note of praise for the excellent soundtrack, which was conceived by Jerry Goldsmith.