Chinatown (1974)

Director:

Roman Polanski

Writer:

Robert Towne (written by)
(more)

Release Date:

20 June 1974 (USA)

Genre:

Mystery | Thriller

Plot:

A private detective investigating an adultery case stumbles on to a scheme of murder that has something to do with water.

Plot Keywords:

Water | Detective | Murder | Corruption | Private Detective

Awards:

Won Oscar. Another 18 wins & 22 nominations

Cast

Jack Nicholson	...	J.J. Gittes
Faye Dunaway	...	Evelyn Mulwray
John Huston	...	Noah Cross
Perry Lopez	...	Escobar
John Hillerman	...	Yelburton
Darrell Zwerling	...	Hollis Mulwray
Diane Ladd	...	Ida Sessions
Roy Jenson	...	Mulvihill
Roman Polanski	...	Man with Knife
Richard Bakalyan	...	Loach (as Dick Bakalyan)
Joe Mantell	...	Walsh
Bruce Glover	...	Duffy
Nandu Hinds	...	Sophie
James O'Rear	...	Lawyer
James Hong	...	Evelyn's Butler
Beulah Quo	...	Maid
Jerry Fujikawa	...	Gardener
Belinda Palmer	...	Katherine
Roy Roberts	...	Mayor Bagby
Noble Willingham	...	Councilman
Elliott Montgomery	...	Councilman
Rance Howard	...	Irate Farmer
George Justin	...	Barber
C.O. Erickson	...	Customer (as Doc Erickson)
Fritzi Burr	...	Mulwray's Secretary
Charles Knapp	...	Mortician
Claudio Martínez	...	Boy on Horseback
Federico Roberto	...	Cross' Butler
Allan Warnick	...	Clerk
John Holland	...	Farmer in the Valley
Jesse Vint	...	Farmer in the Valley
Jim Burk	...	Farmer in the Valley (as Jim Burke)
Denny Arnold	...	Farmer in the Valley
Burt Young	...	Curly
Elizabeth Harding	...	Curly's Wife
John Rogers	...	Mr. Palmer
Cecil Elliott	...	Emma Dill
Paul Jenkins	...	Policeman
Lee de Broux	...	Policeman (as Lee DeBroux)
Bob Golden	...	Policeman
rest of cast listed alphabetically:
Richard Warren	...	Driver (uncredited)

Directed by
Roman Polanski

Writing credits
Robert Towne		(written by)
Roman Polanski		uncredited

Produced by
C.O. Erickson	....	associate producer
Robert Evans	....	producer

Original Music by
Jerry Goldsmith

Cinematography by
John A. Alonzo

Film Editing by
Sam O'Steen

Casting by
Jane Feinberg
Mike Fenton

Production Design by
Richard Sylbert

Art Direction by
W. Stewart Campbell

Set Decoration by
Ruby R. Levitt		(as Ruby Levitt)

Costume Design by
Anthea Sylbert

Makeup Department
Hank Edds	....	makeup artist
Susan Germaine	....	hair stylist
Lee Harman	....	makeup artist
Vivienne Walker	....	hair stylist

Production Management
C.O. Erickson	....	unit production manager

Second Unit Director or Assistant Director
Michael Ader	....	second assistant director
Hawk Koch	....	assistant director (as Howard W. Koch Jr.)
Lee Rafner	....	second assistant director (uncredited)

Art Department
Bill MacSems	....	property master
Gabe Resh	....	set designer
Robert Resh	....	set designer
L. David Gordon	....	draper (uncredited)
Mike Reedy	....	property maker (uncredited)

Sound Department
Clint Althouse	....	boom operator (as Clint Althaus)
Bob Cornett	....	sound editor
Charles Grenzbach	....	sound re-recordist
Larry Jost	....	sound mixer
Howard Beals	....	sound editor (uncredited)
David Dockendorf	....	sound re-recording mixer (uncredited)
Roger Sword	....	sound editor (uncredited)
John Wilkinson	....	sound re-recording mixer (uncredited)

Special Effects by
Logan Frazee	....	special effects

Stunts
Jim Burk	....	stunts
Steven Burnett	....	stunts (uncredited)
Alan Gibbs	....	stunts (uncredited)
Hal Needham	....	stunt coordinator (uncredited)

Camera and Electrical Department
Hugh K. Gagnier	....	camera operator
Earl Gilbert	....	gaffer
Bernie Schwartz	....	key grip

Costume and Wardrobe Department
Richard Bruno	....	wardrobe
Jean Merrick	....	wardrobe

Editorial Department
Florence Williamson	....	assistant editor

Music Department
John C. Hammell	....	music editor
Arthur Morton	....	orchestrator (uncredited)
Uan Rasey	....	musician: trumpet solo (uncredited)

Other crew
May Wale Brown	....	script supervisor
Gary Chazan	....	assistant to producer
Wayne Fitzgerald	....	title designer
Lee Sollenberger	....	animal trainer (uncredited)

Production Companies

• Paramount Pictures
• Long Road
• Penthouse

Distributors

• Paramount Pictures (1974) (USA) (theatrical)
• Cinéma International Corporation (CIC) (1974) (Argentina) (theatrical)
• C.I.C. (Consorcio Ibérico Cinematográfico) (1974) (Spain) (theatrical)
• Cinema International Corporation (CIC) (1974) (France) (theatrical)
• Cinema International Corporation (CIC) (1974) (Netherlands) (theatrical)
• CIC (1974) (West Germany) (theatrical)
• Cinema International Corporation (CIC) (1975) (Finland) (theatrical)
• Argentina Video Home (19??) (Argentina) (VHS)
• Argentina Video Home (2002) (Argentina) (DVD)
• Argentina Video Home (2002) (Argentina) (VHS) (re-release)
• CIC Vídeo (19??) (Brazil) (VHS)
• CIC-Taft Home Video (19??) (Australia) (VHS)
• CIC-Taft Home Video (19??) (Australia) (video) (laserdisc)
• Columbia Broadcasting System (CBS) (1976) (USA) (TV) (broadcast premiere)
• Paramount Filmes do Brasil (????) (Brazil) (DVD)
• Paramount Home Entertainment (2000) (Netherlands) (DVD)
• Paramount Home Entertainment (2000) (Netherlands) (VHS)
• Paramount Home Entertainment (2008) (Netherlands) (DVD) (Award Winning Collection)
• Paramount Home Video (1991) (USA) (video) (laserdisc)
• Paramount Home Video (1999) (USA) (DVD) (widescreen)
• Paramount Home Video (19??) (USA) (VHS)
• Paramount Home Video (2000) (USA) (DVD) (widescreen)
• Paramount Home Video (2006) (USA) (DVD)
• Paramount Home Video (2007) (USA) (DVD)
• Phillips (1992) (Germany) (video) (laserdisc)
• Prem'er Video Fil'm (19??) (Russia) (VHS)
• United International Pictures (UIP) (2002) (Argentina) (all media) (re-release)

Other Companies

• Chapman/Leonard Studio Equipment  camera cranes
• Freedom Service Company  production services
• The Family Jewels  jewellery

Runtime:

131 min

Country:

USA

Language:

English

Colour:

Colour (Technicolor)

Aspect Ratio:

2.35 : 1

Sound Mix:

Stereo

Certification:

Iceland:16 | Singapore:NC-16 | Argentina:16 | UK:15 (video rating) | Canada:A (Nova Scotia) | Brazil:12 | West Germany:16 (f) | Australia:M | Canada:13+ (Quebec) | Canada:PG (Manitoba) | Canada:R (Ontario) | Finland:K-16 | Netherlands:16 | New Zealand:R16 | Norway:15 | Spain:18 | Sweden:15 | USA:R | UK:X (original rating)

Filming Locations:

1972 Canyon Drive, Hollywood, Los Angeles, California, USA

Company:

Paramount Pictures

Trivia:

The scene where Roman Polanski slits Jack Nicholson's nose was extremely complex to film, and the two men involved got so tired of explaining how it was done (by using a specially-constructed knife with a short hinge that would be safe as long as it was handled VERY carefully) that they began to claim Nicholson's nose was actually cut.

Goofs:

Continuity: In the orange grove scene, Gittes car has its right front tire shot and deflated, yet it is not deflated when the car hits the tree.

Quotes:

[first lines]
Jake Gittes: All right, Curly. Enough's enough. You can't eat the Venetian blinds. I just had them installed on Wednesday.

Movie Connections:

Referenced in "Over There: Situation Normal (#1.8)" (2005)

Soundtrack:

The Way You Look Tonight

A very classy, consistently engaging and dark detective story

Jake Gittes is a former cop turned private detective. When he is contracted by a Mrs Mulwray to find out if her husband is having an affair, he takes to trailing Water Company Executive Hollis Mulwray. Mulwray appears to only have water and a dry riverbed on his mind but eventually they catch him with a young woman, although almost immediately the news gets leaked to the papers and Mulwray goes missing, only to turn up dead. At this point the real Mrs Mulwray comes to Gittes threatening to sue him for his involvement and Jake realises that he had been set up to set up the Mulwrays. He continues his investigation into the murder only to find a conspiracy involving thousands of gallons of water being wasted during a drought and the mysterious presence of Mrs Mulwray's father, Noah Cross.

As a fan of film noir and tough detective movies, I am too often put off by modern entries into the genre that try to replace atmosphere and intelligence by just having nudity and swearing; the genre managed atmosphere without these in the forties and fifties but yet modern films seem to rely on them. With Chinatown however, everything works well as a homage to the best years of the genre and, as such, is very well set in the period and is of suitable presentation even if the material and tone is darker and harder than would have been allowed years ago. This is not to say it is just a copy and paste from better films because it isn't and indeed stands out as one of the best detective noirs I have seen in ages. The plot is always going to be the most important thing and it gets it spot on throughout, doing the proper thing of starting with a simple story and continually building it more and more complex as it goes. Unlike some other "classics" of the genre, Chinatown manages to do this without ever losing the audience and I found the plot to be both rewardingly complex but yet still very easy to follow.

Needless to say, things are very dark and the script is convincingly dark and miserable, leading to an ending that is as depressing as I've seen – not so much in what actually happens but also in the wider implications for the characters that the credits prevent us from seeing. Director Polanski does a great job of putting this story in a lush setting that produces a real strong sense of period but also manages to always be showing us the darkness coming through subtly throughout the movie. Of course it helps that he also has a great cast to work with. Jack Nicholson is iconic in this role and, if I had to pick one film to act as an introduction to Nicholson then it would be this one. He is tough yet damaged, upright but seedy and he brings out his complex character well. Dunaway has less screen time but is just as impressive with a similarly dark role. Huston adds class and manages to ooze menace while also coming across as a harmless old man. The support cast are all fine but really the film belongs to these three, with Nicholson being the stand out role.

Overall this is a very classy film that has stood up very well to become a well-deserved classic. The story is complex, mysterious yet simple to follow; it is dark and seedy without relying on swearing or nudity to set the atmosphere. The direction is great, with a real atmosphere and sense of time and place that is matched by a great collection of performances delivering a great script.