Chinatown+Critical+Analysis

 In a decade of film that’s been called “the last great decade of American Cinema”, Roman Polanski’s 1974 film noir has emerged as one of the best. It is hard to believe that production began in front of the cameras without a final script but Jack Nicholson and Faye Dunaway under the direction of Polanski, made a classic. //Chinatown// also marked the best entry into the film noir genre. Before, all film noirs were in black and white like //The Maltese Falcon//, //Double Indemnity, the Night of the Hunter and Sunset Boulevard.// The conspiracy that J.J. Gittes uncovers does not involve typical noir. There is no High-priced artifact, or jewel instead a scam by Noah Cross to divert water from the valley, dry it out, buy up the land at a low price and then re-divert the water back to the valley, increasing the value of the land exponentially. Gittes picks up where Hollis Mulwray left off after he found out too much. There are so many twists and turns. In addition to the Cross scheme, there is also Evelyn Mulwray and also Hollis’ mistress and where they fit in to this complex plot. //Chinatown// requires a lot of attention to be paid because it doesn’t slow down to let you catch up, it moves to the next twist.
 * __Part: 1 Critical Analysis- __** //Chinatown//

During the course of Jack Nicholson’s career he has played some memorable characters but never have his acting skills been more on display than in //Chinatown//. He was not known a a big name actor before //Chinatown//, his first lead role, and this movie shows sides of him we previously had not seen such as tenderness, quiet intensity, tenacity, and bravery.

For many film noirs, music is very important in establishing the tone and the music in this film is perfect. When I hear the music I just think of Los Angeles in the mid 1950’s. This movie is a nearly flawless example of movie composition.