Review: Chinatown (1974)

chinatown1Forget it Jake, it’s Chinatown

The more you watch movies like Chinatown, the more you realize how much you’re still learning. I saw it the first time and I naively thought I knew everything about it. After all, it seemed fairly cut and dry. But the beauty of this film is a labyrinth-like story that can still keep me engaged after multiple viewings. There are things that I missed, things that I have to piece together once more, and more often than not details I simply forgot. Robert Towne’s script has an intricacy to its constantly spiraling mystery plot that remains powerful and Roman Polanski — with cameo included — directs the film with a sure hand as well as a cynically bitter ending worthy of his work. At that point, he was returning to the same city where a few years prior his wife Sharon Tate had been brutally murdered and that certainly had to still be heavy on his mind.

Throughout, Chinatown has elegant visuals of a desert dry Los Angeles circa 1930s, and it is aided by a smooth Jerry Goldsmith score made for such a period crime film as this. Jake Gittes (Jack Nicholson), is the smooth-talking, smart-aleck P.I. with a penchant for trouble, but that goes with the business. In the tradition of all his heirs like Spade and Marlowe, the whole story is told from his point of view and we get the details at the same pace as him. That means a lot of the time we are just as confused as him, trying to pick up all the pieces.

Aside from Nicholson, Faye Dunaway’s performance is an interesting reworking of the archetypal femme fatale, because she has a different side to her. Also, John Huston’s performance is wonderfully nefarious, because he plays Noah Cross with a top layer of geniality that is ultimately undermined by his base nature. It’s wonderfully wicked.

In the story’s first few moments of being in his office, we begin to learn a little about the means Gittes uses to appease his clients. Then, his newest client walks through the door, a Mrs. Mulwray, who wishes for him to tail her husband. And so he does, just like that, and he’s pretty good at it too. Hollis Mulwray (an anagram for Mullholland) happens to be an integral part of the L.A. Department of Water and Power as the chief engineer. From what Gittes sees, the bespectacled Mulwray seems to have his scruples, but he also has a secret girl, who the P.I. is able to snap some incriminating photos of.

chinatown2Back at the office, another woman shows up, a Mrs. Mulwray, but this time the real one. She wants to slam J.J. with a lawsuit, but he realizes he got framed, and in the end, she quickly drops her case. Pretty soon Gittes former colleague Lt. Escobar digs up Mulwray’s body and the cause of death is the height of irony. He drowned during a drought, a cruel demise, and his body is joined by that of a drunk, who also was wandering around the local reservoir. It’s time for our nosy P.I. to do a little more snooping, but he is scared off by two security guards from Water and Power who give him a deadly nose job.

None worse for wear aside from a small cast, J.J. knows the department is diverting water. It’s more than a little runoff like they contend. He gets lunch with Noah Cross (The great John Huston), who is the father of Mrs. Mulwray and the former business partner of the deceased. Like J.J., he’s curious about finding the mysterious girl, and he sweetens the pot for the P.I.

A bit of detective work takes Gittes to the hall of records and then a vast acreage of orange groves where he is mistaken for a member of the Department of Water and Power. They aren’t too happy to see him, but Mrs. Mulwray is able to bail him out. They check up on an assisted living home and tie it into the whole conspiracy. Someone is buying up land under the names of the unknowing residents.

chinatown3But as it turns out, Mrs. Mulwray is hiding a major secret of her own that she’s been keeping. Another girl is murdered and since he’s found at the crime scene, Gittes is in a tight spot with a police and so he wants to get thing straightened out. But he doesn’t quite understand what he’s gotten himself caught up in. At the last minute, he decides to take the heroes path, but it’s to no avail. The good is snuffed out, the bad walk away free, and corruption still runs the streets of L.A. There’s not much the cops can do about it either.

chinatown4So many people remember the films final words which epitomize this place of confusion, corruption, and helplessness. The final words of Jake are just as illuminating, however, because he repeats the words he spoke to Mrs. Mulwray earlier when she asked what he did when he worked a beat in Chinatown, “As little as possible.” It’s so pessimistic and yet it’s the truth that everybody knows. He must resign himself to doing nothing because there is no way he can win, no way to overcome the forces that be. It’s a haunting conclusion, but ultimately the most powerful one we could hope for.

Earlier I alluded to the fact that every time I watch this film I pick on things that I missed before. For instance, within Robert Towne’s script are some interesting instances of foreshadowing. The first comes in the form of a pun uttered by the Chinese gardener who is constantly muttering, “It’s bad for the glass/grass.” Then, while they are in the car Mrs. Mulwray dejectedly drops her head on the steering wheel and it lets out a short honk. This acts as an important portent to the end of the film along with the blemish in her left eye. If you have not seen the film yet, this might sound very cryptic, but if you keep your eyes open these little details are rewarding. Chinatown is a fascinating place to return to again and again after all.

5/5 Stars

Review: Blade Runner (1982) – Final Cut

edd47-bladerunner1“Too bad she won’t live but then again who does?”

It’s the year 2019 in Los Angeles but this is a far cry from the world we are used to as you will soon see. Blade Runner is a hybrid neo-noir, dystopian, and sci-fi film. The Tyrell Corporation has successfully created humanoids called replicants that are near perfect copies of humans except at one point some went rogue and special policemen called Blade Runners were called in. Their services are still required to get rid of a few remnants

Unlike your typical Noir, the film is not in black and white but it still is faded, dank, and dreary. It’s a world-weary L.A. that doesn’t see the light of day anymore. The sterile environment is filled with unnaturally bluish light, old technology, and spaceships coupled with neon lights. The 1980s aesthetic actually adds to the atmosphere which fills all the more dilapidated and old by modern standards. It is weirdly sci-fi while also being time worn. On the ground, it has the appearance of a Chinatown where it is perpetually raining. There is a melding of cultures, time, and place. The ultimate melting pot.

This is the strangely foreign earth that four replicants escape to. One of the fugitives soon blows away a Blade Runner and thus, the best man for the job is brought in: Rick Deckard (Harrison Ford). Finding 4 so called “Skin jobs” is like finding needles in the proverbial haystack. But Deckard has the experience.

Initially, he pays a visit to replicant mastermind Dr. Elden Tyrell and does a test on the woman Rachael (who appears to be a replicant but without any knowledge of it). Deckard proves his skill to Tyrell and heads off on his investigation. Meanwhile, two of the replicants Roy Batty and Leon interrogate a replicant eye manufacturer (James Hong) who points them to one J. F. Sebastian. Another replicant Pris pays a visit to the hapless man named Sebastian and he invites her into his home.

Deckard’s search leads him to snake scales and his first target. He gets to Zhora by putting on an act as a dweeby member from the American Federation of Variety Artists (reminiscent of Bogart in The Big Sleep). She has none of his pitiful guise but he soon pops her. One down. But Leon sees what happens and is ready to make Deckard pay for his deeds. Luckily the Blade Runner gets some much-needed help. Two down. Two to go.

The leader of the replicants, Roy Batty goes with Sebastian to the lair of Tyrell. Batty meets his maker literally and they trade some choice words. In a strangely horrifying instance, he gives his father a kiss before proceeding to cave his head in. A modern reincarnation of Frankenstein and his creature. Except Batty cannot take his life yet.

Deckard finds his third replicant and barely notches his third kill. Now it’s only Roy and Rick left to duel it out. What ensues is a game of cat and mouse where a frantic Deckard is playfully stalked by a seemingly deranged Batty. At times both men seem inhuman (I thought you were supposed to be good. Aren’t you the “good” man?), but it is ultimately Batty who remains the unfeeling one. That’s what makes his quiet death all that surprising. Deckard is left looking on bewildered as Batty’s dripping head hangs limp. Four down.

Deckard returns one last time for Rachael. He has fallen for a replicant, but he could care less. Then again, she might not be the only one left. If Gaff’s origami unicorn and Deckard’s dream mean anything at all. The identity of Deckard is one of the many ambiguities that is left for the audience to mull over. That is the beauty of Blade Runner because, with the many different versions, there are various interpretations that can be made. You be the judge of which one is correct. I still say they should have kept the name “Do Androids Dream of Electric Sheep,” but then again what do I know? Blade Runner will continue to befuddle me as well as others and that’s probably a good thing. If all movie mysteries were solved and tied up nicely with a big bow they would all but lose their allure. Not so with this one.

4.5/5 Stars