Directed by Irvin Kershner and screenplay by John Carpenter and David Zelag Goodman from a story by John Carpenter, Eyes of Laura Mars is the story of a fashion photographer who is known for shooting violent images starts to see things through the eyes of a killer. The film is a suspense-thriller that play into the mind of a woman who is dealing with what she is seeing as her own life starts to unravel. Starring Faye Dunaway, Tommy Lee Jones, Brad Dourif, Raul Julia, Michael Tucker, and Rene Auberjonois. Eyes of Laura Mars is a thrilling but underwhelming film from Irvin Kershner.
A controversial yet revered fashion photographer known for creating macabre images in her work finds herself seeing murders happening through the eyes of a killer who are targeting those that she knows. With the help of a detective, she would try and find the killer while falling for the man who is protecting her. It’s a premise that is intriguing and simple yet it would fall apart due to its screenplay as would play into the things that the titular character (Faye Dunaway) would see as there are suspects on who could be the killer. The script unfortunately doesn’t do enough to maintain that intrigue where the audience can get an idea on who it might be while there is also this love story between Laura Mars and the detective Lieutenant John Neville (Tommy Lee Jones) that occurs in the middle of the film that feels tacked on and brings a lot of ideas about who is killing her as he is first introduced at one of her galleries criticizing her work to her unaware of who she is.
Irvin Kershner’s direction does have its moments in terms of the visuals and establishing the locations into what Laura sees through her strange psychic visions. Shot on location in New York City and parts of New Jersey, Kershner’s direction does have some unique compositions such as the photoshoots that Laura creates with some unique wide and medium shots along with the usage of close-ups to play into the visions that she sees. There are some visual tricks that Kershner would use to play into Laura’s visions that are blurry as it plays from the point-of-view of the killer yet it becomes repetitive as the story progresses. The film’s screenplay definitely hinders Kershner’s approach to the suspense as it includes a third act where Lt. Neville finds a suspect but had also fallen for Laura which complicates things as it tries to be thrilling but it doesn’t do enough to be ambiguous. Even in the reveal where it doesn’t have the impact it should’ve had as it is over-the-top and ridiculous that includes a monologue that reveals too much. Overall, Kershner crafts a film that starts off well only to fumble big time in its second half in a half-baked film about a woman who sees murders through the eyes of a killer.
Cinematographer Victor J. Kemper does excellent work with the cinematography to play into some of the visuals in the way the gallery looks along with some of the exteriors for scenes set in the day and night. Editor Michael Kahn does nice work with the editing as it does have bits of style to play into the suspense with its cuts of what Laura sees from the killer’s point of view. Production designer Gene Callahan, with set decorator John Godfrey and art director Robert Gundlach, does fantastic work with the look of the gallery as well as Laura’s home and the studio where she does some of her photo shoots.
Costume designer Theoni V. Alderedge does brilliant work with the costumes in the clothes that Laura wears along with the models and her friends wear. Sound editor Charles L. Campbell does terrific work with the sound as it does play into the atmosphere of the suspense including scenes in some of the film’s locations. The film’s music by Artie Kane is good for its orchestral score that play into the film’s suspense and drama while music supervisor Charles Koppelman provides a fun soundtrack that is filled with some disco music but also a lame and overwrought love ballad sung by Barbra Streisand.
The film’s superb cast include some notable small roles and appearances from Michael Tucker as an associate of Mars in Bert, Lisa Taylor and Darlanne Fluegel as a couple of models of Mars in their respective roles as Michelle and Lulu, Meg Mundy as a friend of Mars in Doris Spenser, Rose Gregorio as another friend of Mars in Elaine, and Frank Adonis as a detective who helps Lt. Neville in the case in Sal Volpe. Raul Julia is terrific in a brief yet memorable performance as Mars’ ex-husband Michael Reisler as a man who is an initial suspect of the murders though he had been dating one of Mars’ friends and is dealing with failure of his work as a writer. Rene Auberjonois is fantastic as the flamboyant Donald Phelps as a friend of Mars who also handles her business as well as try to figure out how to deal with the presence of the killer.
Brad Dourif is superb as Tommy as Mars’ driver who definitely has the look of being a suspect as he is someone that doesn’t like Phelps while always carrying a knife as he has the many obvious traits in being the killer. Tommy Lee Jones is pretty good in the film whenever he’s being charming and cunning in the role of the Lt. John Neville yet it is the moments where Neville and Mars fall for each other that doesn’t work as Jones is just miscast as the romantic. Finally, there’s Faye Dunaway in an excellent performance as the titular character as it’s a performance that has Dunaway display the anguish and fear of what she’s seeing though there’s moments that the script doesn’t do her any favors where she doesn’t do enough to break out of the conventions of suspense while she and Jones don’t really have any chemistry in the romantic scenes.
Despite its ensemble cast, some gorgeous visuals, and an intriguing premise, Eyes of Laura Mars is a film that starts off well only to falter by its conventions in the genre and not enough trust into unveiling the killer in the end. Even as its attempt to be this giallo-inspired film from someone like John Carpenter who understands the genre only to have his script play into cheap scares and a stupid ending. In the end, Eyes of Laura Mars is just a hackneyed and disappointing film from Irvin Kershner.
© thevoid99 2018
Directed by James Gray and written by Gray and Matt Reeves, The Yards is the story of a convict who has been released from parole as he finds himself being part in a crime scheme with a friend for a subway rail yard leads to trouble. The film is a crime drama set in New York City where a man who went to jail for his friend deals with being drawn into a world that might put him back in prison as he also copes with loyalty and doing what is right. Starring Mark Wahlberg, Joaquin Phoenix, Charlize Theron, Faye Dunaway, Ellen Burstyn, and James Caan. The Yards is an evocative and mesmerizing film from James Gray.
The film follows a young man who has returned from prison for a crime he didn’t commit as he is eager to lead a straight-and-narrow life only to be coerced by his best friend to be involved in the world of corruption relating to the subway train yards only for things to go wrong. It’s a film that is a bit about redemption but also about the fallacy of loyalties in the streets as this young man is just trying to find work and not get in trouble but he is lured into a world he doesn’t want to go back to. The film’s screenplay by James Gray and Matt Reeves explore the motivations of its characters such as the protagonist Leo Handler (Mark Wahlberg) who returns home as he learns that his mother Val (Ellen Burstyn) is dealing with a heart condition and wants to set things right for her. At his homecoming party that is attended by his mother, his aunt Kitty (Faye Dunaway), his cousin Erica (Charlize Theron), and best friend Willie Gutierrez (Joaquin Phoenix), Leo learns that Kitty’s new husband Frank Olchin (James Caan) could get him a job working at the railway car repair company.
Yet, Frank is unable to give Leo a job immediately though he offers to fund his studies for a two-year machinist program as Leo chooses to work closely with Willie, who also works for Frank, where he does bribes and such to get contracts against competing companies. It may give Leo some money in his pocket but he becomes uneasy as he also learns what Willie and his friends do in ruining other companies in order to get contracts where one night in an attempt to sabotage another company’s trains would lead to chaos as Leo gets into a scuffle with a police officer (David Zayas) and knocks him unconscious. Yet, that is nothing compared to what was happening at the same time where a yard master is killed as Leo becomes a suspect where he goes into hiding with a few people to trust. Among them is Erica whom Leo is close to, despite the fact that she’s engaged to Willie, as she would look after her aunt for Leo as she becomes aware of what had happened as she turns to her stepfather for help.
Gray’s direction does have elements of style in terms of the compositions that he creates as it play into the suspense and drama. Shot on location in New York City with much of it set in the boroughs of Queens, the film does play into this world that is away from the usual aspects of the city which is often set in Manhattan. Instead, Gray plays into this world that is a mixture of upper-class suburbia as it relates to the home that Frank and his family live in as well as the apartment that Leo shares with his mother. Gray’s approach to the compositions does having him using some wide shots not just in establishing the location but also this world where there is so much at stake in the world of the subways where companies are trying to compete to get contracts where it eventually becomes deadly.
Gray’s approach to the drama is more straightforward in the compositions where he uses some medium shots and close-ups as it relate to what the characters are reacting as well as what they’re dealing with. One noted scene is where Leo is being asked to kill the cop he knocked unconscious as a way to solve all of his problems where Gray uses the space of the room and everything in it to play into the suspense. It says a lot of who Leo is as well as the conflict he has in his loyalty to his friends but he’s also thinking about the fact that he might return to prison. It’s an effective scene as would the third act where it is about family as it relate to Leo’s relationship with his mother and Erica where he really cares about them with the latter as someone he can really trust. Even as he would make a bargain to ensure that he and the family would be safe despite the fact that he could still be public enemy number one against those he would rat out. Overall, Gray crafts a gripping yet compelling film about a former convict being lured into a deadly scheme where his loyalty towards friends is being tested.
Cinematographer Harris Savides does incredible work with the film’s cinematography with its usage of low-key yet grimy lighting for the scenes set at night including scenes during black-outs and low-light situations while maintaining something natural for the daytime exterior scenes. Editor Jeffrey Ford does excellent work with the editing as it is very straightforward to play into the drama and suspense which includes a scene of Leo dealing with a hood wanting to kill him. Production designer Kevin Thompson, with set decorator Ford Wheeler and art director Judy Rhee, does fantastic work with the look of the home that Frank lives in with the family as well as the apartment that Leo lives with his mother.
Costume designer Michael Clancy does nice work with the costumes as it is mostly casual with some of the stylish clothes that Erica wears. Sound editor Phil Benson, along with sound designers Kyrsten Mate and Gary Rydstrom, does superb work with the sound in creating that atmosphere of how trains are repaired as well as the atmosphere of the streets including the hospital room scene which is very low-key yet also chilling. The film’s music by Howard Shore is brilliant for its orchestral-driven score that play into the suspense and drama while music supervisor Dana Sano provide a mixture of music from acts and artists like Macy Gray, Brand New Heavies, KRS-One, Peggy Lee, George Benson, and Petula Clark.
The casting by Douglas Aibel is wonderful as it feature some notable small roles from Chad Aaron as Erica’s little brother Bernard, David Zayas as Officer Jerry Rifkin whom Leo would knock unconscious, Joseph Ragno as Leo’s parole officer, Robert Montano as a railway yard contractor in Hector Gallardo whom Willie doesn’t like, Steve Lawrence as a boroughs president who wants to keep the murder quiet until after the election, and Tomas Milian as a rival contractor who feels cheated by Frank’s company and the politicians over contracts. Faye Dunaway is fantastic as Erica’s mother Kitty as a woman that doesn’t approve of the engagement between Erica and Willie as she is also concerned with what Frank is doing with his business. Ellen Burstyn is superb as Leo’s mother Val as a woman who is happy to see her son as she also copes with what is happening to him as it is affecting her health but knows that he hasn’t done anything wrong. James Caan is excellent as Frank Olchin as a railway repair contractor who wants to help Leo out in finding a good job as he later copes with the murder of yard securities officer where he tries to do some cover-up as well as make decisions that would later be troubling.
Charlize Theron is brilliant as Erica as Leo’s cousin/Willie’s girlfriend who is happy to see Leo back as she becomes concerned with what’s happening to him after being accused of murder while taking care of her aunt where she would learn about what happened which disturbs her. Joaquin Phoenix is remarkable as Willie Gutierrez as Leo’s best friend who is part of a crew that helps sabotage rival subway trains as well as bribe officials where he goes too far into his work to the point that he thinks about getting rid of his best friend. Finally, there’s Mark Wahlberg in a marvelous performance as Leo Handler as convict who is on parole that is trying not to get into trouble as it’s a very restrained performance from Wahlberg as someone that is quiet as well as knowing what he had to do to save himself and those he cares about.
The Yards is a phenomenal film from James Gray. Featuring a great cast, top-notch cinematography, a chilling score, and captivating themes on loyalty and corruption. It’s a film that explores a world that is very competitive with those being caught in the middle of a dark and violent game where a man is forced to live by the code of the streets or do what is right. In the end, The Yards is a sensational film from James Gray.
James Gray Films: Little Odessa - We Own the Night – Two Lovers – The Immigrant (2013 film) - The Lost City of Z – Ad Astra - The Auteurs #67: James Gray
© thevoid99 2017
Based on the comic novel by Thomas Berger, Little Big Man is the story of a white man who was raised by the Cheyenne Indian nation since he was a child in the 19th Century as he deals with prejudices that Native Americans face during the Indian Wars in America. Directed by Arthur Penn and screenplay by Calder Willingham, the film is a revisionist western that mixes satire with elements of tragedy where a man deals with his identity as well as a world that doesn‘t make any sense. Starring Dustin Hoffman, Faye Dunaway, Chief Dan George, Martin Balsam, Richard Mulligan, and Cal Bellini. Little Big Man is a whimsical yet engaging film from Arthur Penn.
The film is told from the perspective of a 121-year old man who recalls his life when he was raised by the Cheyenne Indians following the death of his parents in an ambush where he would eventually take on various roles in the course of life which would culminate in Battle of Little Big Horn. Yet, that 121-year old man would endure many prejudices and injustice in the course of his life as he is known as Jack Crabb (Dustin Hoffman) yet his Cheyenne name is Little Big Man as he is known for being small but with a big heart as he is raised by the wise yet eccentric Old Lodge Skins (Chief Dan George). Throughout the course of his life, he encounters a horny preacher’s wife in Mrs. Pendrake (Faye Dunaway), a swindling salesman named Meriweather (Martin Balsam), Wild Bill Hickok (Jeff Corey), and all sorts of individuals including General George Armstrong Custer (Richard Mulligan).
The film’s screenplay begins and ends with the elderly Crabb who tells his story to an interviewer (William Hickey) who starts doubting Crabb’s story until Crabb talks about everything he’s experienced. Though he would be raised by Old Lodge Skins and treated fairly by the tribe with the exception of a young Cheyenne in Young Bear (Cal Bellini) who would later owe a life debt to Crabb who saved his life. During a battle with the cavalry, Crabb would get wounded and later be sent to the world of the white where he would endure many adventures. One of which include marry a Swedish immigrant (Kelly Jean Peters) and later a Cheyenne woman named Sunshine (Aimee Eccles) along with her sisters. Still, he would also endure the atrocities that Armstrong and the cavalry would do where he would wait for some vengeance. At the same time, he also deals with the complications over the state of the world and questions into why Native Americans are being killed because they refuse to conform with the rest of society.
Arthur Penn’s direction is quite vast in terms of what he wanted to say about the American cavalry’s war with the Native Americans during the late 19th Century as it relates to some of the things that were happening in the Vietnam War. Much of it is played with humor and some dark humor as it is told from the perspective of a man stumbling around his surroundings as he would try to be religious, a gunslinger, aiding a crooked salesman, run a shop that goes wrong, and all of the things that white people do which makes him unhappy and desperate. Penn’s direction would include a lot of wide shots of the landscapes as much of it was shot in Montana along with some scenes in Alberta, Canada to play into that feel of the American West. It’s a world that is quite free whenever Crabb is with the Cheyenne though there’s moments that are quite absurd that includes the portrayal of General Custer. Custer is shown as an egotistical and offbeat lunatic who is so full of himself as he would be a sense of bafflement to everyone including his own soldiers.
The film would have some violent moments where Crabb watches the slaughters of women and children in the film as it would lead him to see Custer’s death happen. It’s aftermath would force Crabb to see that it would be a hollow victory as it would unveil a much bleaker future as the old Crabb would endure that sense of loss. Overall, Penn crafts a very sensational and provocative film about a man trying to find his identity as he endures prejudice and the horrors of humanity.
Cinematographer Harry Stradling Jr. does excellent work with the film’s cinematography from the colorful yet vibrant daytime exteriors of the desert and plain locations to the use of lighting for some of the interior scenes as well as some shots set at night. Editor Dede Allen does brilliant work with the editing with its use of jump-cuts and other rhythmic cuts to play into the film‘s humor and drama. Production designer Dean Tavoularis, with set decorator George R. Nelson and art director Angelo P. Graham, does amazing work with the design of the soda pop shop that Crabb and Mrs. Pendrake go to as well as the teepees that the Cheyenne tribe stays in.
Costume designer Dorothy Heakins does fantastic work with the design of the lavish dresses that Mrs. Pendrake wears as well as the gunslinger suit that Crabb would wear for a brief moment. Makeup designer Dick Smith does superb work with the makeup design to showcase Crabbe as an old man who would tell his story. The sound work of Bud Alper and Al Overton Jr. do terrific work with the sound to play into the sound of gunfire as well as some of the moments that goes on in the battle scenes. The film’s music by John Hammond is wonderful for its mixture of folk and blues to play into the film’s quirky humor as well as some of the darker moments such as the cavalry cadence numbers.
The casting by Gene Lasko is phenomenal as it features some notable small performances from William Hickey as the skeptical interviewer, Thayer David as the very cruel Reverend Pendrake, Ruben Moreno as the Cheyenne warrior Shadow That Comes in Sight who would take Crabb to the Cheyenne tribe, Robert Little Star as the flamboyant Little Horse, Carl Bellini as the very eccentric yet unfriendly warrior Young Shadow, Carole Androsky as Crabb’s older sister Caroline who had become a bandit, Alan Howard and Ray Dimas as the younger versions of Crabb, Kelly Jean Peters as Crabb’s Swedish wife Olga, and Aimee Eccles as the Cheyenne woman that Crabb saves and later marries in Sunshine. Jeff Corey is terrific as Wild Bill Hickok who learns about Crabb’s reputation as a gunslinger only to reveal to him what it takes to be a true gunslinger. Martin Balsam is excellent as the oily salesman Meriweather who uses his disability to swindle people and such as he would play into Crabb’s encounter with the world at its worst.
Richard Mulligan is brilliant as General George Armstrong Custer as this very off-the-wall individual who thinks so highly of himself to the point that he is this moron that is unaware of what is going to happen to him. Faye Dunaway is fantastic as Mrs. Pendrake as this wife of a preacher who falls for Crabb as she shows him the ways of temptation while later appearing as a woman trying to find herself. Chief Dan George is great as Old Lodge Skins as this Cheyenne chief that had seen it all as he would guide Crabb into the ways of life as well as the troubles of the ways of the white man. Finally, there’s Dustin Hoffman in a remarkable performance as the titular character/Jack Crabb as this white man who is raised by the Cheyenne as he tries to deal with his identity as well as the ways of the world as it’s a performance that has Hoffman be funny but also full of humility and bewilderment as a man that deals with the horrors of humanity.
Little Big Man is a marvelous film from Arthur Penn that features a riveting performance from Dustin Hoffman. It’s a film that showcases the world of the American West and some of the atrocities that happened to Native Americans where it’s told with some satirical humor and some dark moments. Overall, Little Big Man is a phenomenal film from Arthur Penn.
Arthur Penn Films: (The Left-Handed Gun) - (The Miracle Worker) - (Mickey One) - (The Chase (1966 film)) - (Bonnie & Clyde) - (Flesh and Blood (1968 film)) - (Alice’s Restaurant) - (Visions of Eight) - (Night Moves (1975 film)) - The Missouri Breaks - (Four Friends) - (Target (1985 film)) - (Dead of Winter) - (Penn & Teller Get Killed) - (The Portrait) - (Inside (1996 film))
© thevoid99 2014
Considered to be one of the greatest noir films ever made, Chinatown tells the story of a detective investigating a murder that involves a dispute over water in California circa 1937. Directed by Roman Polanski with an original screenplay by Robert Towne. Chinatown is considered to be one of the finest mysteries ever told as it also became the first film produced by former Paramount studio head Robert Evans. Starring Jack Nicholson, Faye Dunaway, Burt Young, Diane Ladd, Perry Lopez, and John Huston. Chinatown is an extraordinary masterpiece that is still captivating more than 35 years since its release.
After being hired by a woman named Mrs. Mulwray (Diane Ladd) to investigate her husband, whom she accuses him of adultery. Private investigator J.J. “Jake” Gittes goes after Hollis Mulwray (Darrell Zwerling), a chief supervisor working the L.A. County Water and Power Department. Following him through public meetings and everything else that involved water. Gittes learns that Mr. Mulwray is having an affair with a young woman (Belinda Palmer) as he takes pictures with help from his associates Duffy (Bruce Glover) and Walsh (Joe Mantell). The pictures become public where Jake is suddenly being sued by a woman (Faye Dunaway) who is revealed to be Mrs. Evelyn Mulwray.
Realizing he’s been duped all along, Gittes wants to know why when he wants to talk to Hollis Mulwray himself. After getting some information at Mulwray’s office and meeting with another supervisor named Russ Yelburton (John Hillerman). Gittes notices pictures of Hollis with an old man (John Huston) whom he previously saw in one of Walsh’s pictures revealed to be Noah Cross, Evelyn’s father. Gittes goes to a reservoir to meet with Mulwray where he also comes across his former police partner Lt. Lou Escobar (Perry Lopez) where Hollis Mulwray is found dead. Evelyn is asked to go to the police station for questions as she turns to Jake for help as she wants him to investigate what happened.
With Gittes now on the case to find out what happened to Hollis Mulwray, he also learns about why Mulwray was murdered relating to the owner ship of the water. Gittes ends up getting into a confrontation with a corrupt sheriff named Mulvihill (Roy Jenson) and his associate (Roman Polanski) who cuts Jake’s nose. After that incident, Gittes gets a call from the woman who pretended to be Mrs. Mulwray about the obituaries which mentioned some names. Gittes meets with Noah Cross about Hollis Mulwray where Cross asks Gittes to find Hollis’ mistress. After finding out about some recent landowners that included one of the deceased names at the obituary. Gittes goes to an orange grove plantation where he gets in trouble with landowners until Evelyn saves him.
Jake and Evelyn learn more about the motivation for Hollis’ murder in relation to his protest towards a dam being built to prevent water from landowners in the valley. After evading Mulvihill and his henchmen, Jake and Evelyn hide at her home where Evelyn reveals more about her father. Evelyn, later gets a call from her butler Kahn (James Wong) to go to a house. Jake would follow Evelyn as he learns about Evelyn’s dilemma. After getting another call about some more information about Hollis’ body, Jake confronts Evelyn about Hollis and the mistress where some awful truths come out. Even as Escobar is going after Jake over withholding evidence as it relates to Noah Cross where it would lead to a climatic confrontation.
What was supposed to be part of a trilogy of stories involving Jake Gittes, the film is an allegory of sorts of the dark, cynical tone of what was happening in the 1970s during the Watergate scandal. Both screenwriter Robert Towne and director Roman Polanski decided to create a story about corruption set in the late 1930s in the age when film noir was big. The end result is an intoxicating yet eerie mystery-thriller that has the attitude of the 1970s and take it back in time to the late 1930s. A film that has all of the ingredients of a stylish noir film that is entertaining and engrossing.
Part of this genius belongs to screenwriter Robert Towne whose witty, rhythmic dialogue is part of the film’s brilliance. Setting the film during the real-life California Water Wars during the early 1900s. Towne was able to use that incident as a backdrop while focusing on why was this chief supervisor for the water department was killed and who killed him. That’s where Jake Gittes comes in as he goes very deep into finding out what is going on. Though he was originally supposed to do a job to uncover a man committing adultery, he gets more than he bargains for while nearly losing a nose.
Gittes is the typical gumshoe P.I. in a lot of noir films yet has an attitude that sets him apart from those protagonists from the past. Even as he is a man who is trying to be good while dealing with demons he had in the past in his days as a beat cop at Chinatown. Then there’s Evelyn Mulwray, the femme fatale of sorts but one with a much bigger secret. Though she reveals the secret in a famous dialogue, what is revealed is a woman still haunted by what happened to her and how she tries to keep her husband happy despite not being faithful to her husband and vice versa. Still, in the classic noir formula, Evelyn does become a formidable ally to Gittes whenever he gets himself into trouble and such.
Towne’s approach to the structure of the story is unique not just to the genre but also to its period. The first act revolves around Gittes’ discovery of Hollis Mulwray’s murder, Evelyn hiring him, and his confrontation with Mulvihill. The second act has Gittes meeting his first meeting with Noah Cross and his meeting with landowners. The third act begins with Gittes confronting Evelyn about the mysterious woman at her home which leads to some troubling revelations as well as other dark secrets. Even to the climatic confrontation at Chinatown. Towne’s script is truly mesmerizing as it is definitely one of the best examples of a great screenplay.
The direction of Roman Polanski is truly intoxicating with its hypnotic presentation in terms of framing and capturing a moment on film. Polanski’s camera always follow the action as if he is playing an invisible observer to see what Jake Gittes is doing. At the same time, he also gives the viewer a chance to soak Los Angeles circa 1937. Still, Polanski is interested in divulging into the mysterious death of Hollis Mulwray as well as all of the issues that occurred in the Water Wars. Shooting scenes of rivers, oceans, and ponds become symbolic for the motivation of Gittes’ investigation. Even in the tiny pond at the Mulwray’s home inside their garden where Gittes would find a major clue.
Polanski’s eerie direction, in terms of capturing action and scenery, is a highlight along with the way he captures the actors in their performances. Whether it’s using a close-up or a two-shot with various actors. He always has his eye on Nicholson, who appears in nearly every frame of the film. Even as he gets the chance for the actors to feel relaxed or give in to some kind of crazed performance. The overall result of Polanski’s work is magnificent as this is definitely one of his crowning achievements in his prolific career.
Cinematographer John A. Alonzo does an amazing job with the film‘s lush photography to encompass its noir tone. Alonzo’s photography also has great shadings for many of the film’s sunny day interiors along with wonderful nighttime scenes that play up the dark mood of the film. Editor Sam O’Steen does fantastic work with the film‘s editing that includes a leisured pace to the film. Even with fast-paced rhythmic cutting to play up to the snappy dialogue and intense scenes as O’Steen’s editing is truly one of the film’s technical highlights.
Production designer Richard Sylbert, along with set decorator Ruby Levitt and art director W. Stewart Campbell, do a spectacular job in re-creating late 1930s Los Angeles with the use of old cars and places. Costume designer Anthea Sylbert does a glorious job with the costumes from the suits and hats the men wear to the dresses, hats, and shoes that the women wear. There’s something to the look and feel in the costumes that is mesmerizing as it adds authenticity to the film.
Sound editors Howard Beals, Bob Cornett, and Roger Sword do excellent work with the sound to capture gunshots and the atmosphere surrounding the locations. Music composer Jerry Goldsmith create what is truly one of the best film scores ever composed for a film. Goldsmith’s lush, scintillating score filled with swooning trumpets and an elegant orchestra to play up the drama of the film along with broad arrangements for many of the film’s suspense sequences. Featuring a soundtrack filled with jazz music from other composers, it’s one of the best film scores/soundtracks ever made.
The casting by Jane Feinberg and Mike Fenton is marvelous with the array of memorable small and big roles that are portrayed on film. Among the number of memorable small roles include Ron Howard’s father Rance as an angry farmer at a meeting, Cecil Elliot as an old woman Gittes sweet-talks to, Fritzi Burr as Hollis Mulwray’s secretary, Belinda Palmer as Hollis’ mistress, Nandu Hinds as Gittes’ secretary, Richard Bakalyan as Escobar’s associate Loach, and Darrell Zwerling as Hollis Mulwray. Other notable small yet memorable roles include Burt Young as a client of Gittes named Curly, Bruce Glover and Joe Mantell as Gittes’ respective associates of Duffy and Walsh, James Hong as Evelyn’s butler, John Hillerman as the evasive Yelburton, Diane Ladd as the fake Mrs. Mulwray, Roy Jenson as the sleazy Mulvihill, and Roman Polanski in the memorable role as a knife-wielding thug.
Perry Lopez is excellent as Lt. Escobar, a by-the-books detective who becomes suspicious about Gittes’ involvement with Evelyn Mulwray as there’s an ambiguity over what side he’s on. John Huston is brilliant as Noah Cross, a shady businessman who is hell-bent on having power as he tries to manipulate Gittes. Though it’s a small role, Huston truly stands out with his gravelly voice and intimidating presence as it’s definitely a classic role from the famed Hollywood icon. Faye Dunaway is superb as Evelyn Mulwray. Dunaway’s cool yet eerie performance is definitely her most iconic performance of her career. Dunaway exudes the idea of a femme fatale while her motivations to help Gittes in the investigation adds to her veiled persona. It’s really an amazing performance from Dunaway.
Finally, there’s Jack Nicholson in one of his finest performance as Jake Gittes. Nicholson gives a humorous yet cunning performance as a detective trying to find out what is going on. There’s no quit in a guy like Gittes as he goes head on to find the truth. Nicholson is pretty restrained throughout the film though his monologue about his nose shows a man being intense without going overboard. Nicholson gets a chance for others, including Dunaway and Huston, to shine in the scenes he’s in as he just takes a back seat of sorts. Even with Dunaway where the two have chemistry that is fiery at times but also intoxicating. It’s definitely an example of Nicholson’s brilliance as an actor.
Released in June of 1974, the film was a massive hit with audiences and critics. Nominated for several Oscars including Best Picture, the film won Robert Towne an Oscar for Best Original Screenplay. At the Golden Globes months earlier, the film won four for Best Picture, Best Director for Roman Polanski, Best Screenplay for Towne, and Best Actor for Jack Nicholson. The film’s legacy lived on as in 1991, it was selected to be part of the National Film Registry. At the same time, the film has consistently been put on many top films list as one of the best. Though a 1990 sequel directed and starring Nicholson called The Two Jakes with a screenplay by Robert Town was a critical and commercial failure. It did nothing to taint the brilliance of Chinatown.
Chinatown is truly one of the greatest films ever made. Thanks to Roman Polanski’s enchanting direction, Robert Towne’s marvelous screenplay, and the tour-de-force performances of Jack Nicholson, Faye Dunaway, and John Huston. It’s a film that continues to be as timeless since its original 1974 release as it will always capture the hearts and mind of new viewers. For film buffs wanting to discover the work of Roman Polanski will no doubt see this film as one of his quintessential as well as those interested in the work of Jack Nicholson. In the end, Chinatown is a classic noir film that is entertaining and engaging from the wondrous mind of Roman Polanski.
Roman Polanski Reviews: Knife in the Water - Repulsion - Cul-de-Sac - The Fearless Vampire Killers - Rosemary’s Baby - Macbeth (1971 film) - (What?) - The Tenant - Tess - (Pirates) - Frantic - Bitter Moon - Death and the Maiden - The Ninth Gate - The Pianist - Oliver Twist (2005 film) - The Ghost Writer - Carnage (Venus in Fur) - (Based on a True Story) - (An Officer and a Spy) - (The Palace)
© thevoid99 2010
