The DVD Dissection: Chinatown - Centennial Collection

Posted by Chad Webb on 10.21.2009

Welcome to Chinatown, where noses are slit and water is fiendishly stolen.

Chinatown: J.J. Gittes
Faye Dunaway: Evelyn Mulwray
John Houston: Noah Cross
Perry Lopez: Escobar
John Hillerman: Yelburton
Darrell Zwerling: Hollis Mulwray
Diane Ladd: Ida Sessions
Roy Jenson: Claude Mulvihill
Directed By: Roman Polasnki
Written By: Robert Towne
Theatrical Release Date: June 20, 1974
DVD Release Date: October 6, 2009
Running Time: 131 minutes







Rated R

The Film

J.J. Gittes may be a movie character, but his personality is not unlike many people that exist in this world. He is the type of human being that will rarely or never admit he is wrong, and he is the type of person that will always try to convince the world that he is five steps ahead in a given situation rather than five steps behind. John Houston's Noah Cross says it best when he tells Gittes "You may think you know what you're dealing with, but believe me, you don't." On some occasions, the attitude of Mr. Gittes would be welcomed and preferable, but during the story of Chinatown, Gittes' arrogance, stubborness, and pride end up costing him a great deal. It is a film about many things, but one of them is being in over your head. By the final scene, Gittes learns this.

Examinations of the many complex characters is one reason Chinatown is a masterpiece. On the surface, the story is effecient, but with repeated viewings, added layers of skin will be unveiled that afford a fresh appreciation. Chinatown was directed by Roman Polanski, and fans are fortunate he accepted. This was a time when Polanski wanted to avoid Hollywood. It was following the murder of his wife Sharon Tate, and initially he wanted to pass on it, but he accepted the script as basically being a job to keep him busy. Little did he know it would catapult him from a good filmmaker to a great one in one strong swoop. His skills were already prevalent at this time after Rosemary's Baby and Repulsion, but Chinatown would eclipse both. It is a film that has made so many intriguing lists, like the "Best Films of the 1970's", the "Greatest Films Ever Made", and the "100 Films to See Before You Die" to name a few. All the people that compiled these lists can't be wrong.

The entire scenario begins as a case Gittes (Jack Nicholson) has tackled many times before. A woman claiming to be Mrs. Evelyn Mulwray (Diane Ladd) comes to Jake informing him that she believes her husband, Hollis Mulwray, is having an affair. She wants evidence to support this, and Jake obliges, and obtains photographs of Mr. Mulwray, the L.A. Water Commissioner, and a young blonde that was in his company. It turns out the photographs are then sold to a local paper, which prompts the real Evelyn Mulwray (Faye Dunaway) to storm into Jake's office, and she is not happy. Gittes has been duped. He is determined to get to the bottom of the case, and is subsequently hired by the real Mrs. Mulwray to figure everything out. His investigation grows more serious when Hollis Mulwray is found drowned, and when he is led to Evelyn's father, Noah Cross (John Houston), a shady character with quite a few skeletons in his closet.

So why is all this happening? The conspiracy does not revolve around a priceless artifact, jewels, or piles of cash to be had. The center of Chinatown is what separates it from all the other pieces of film-noir. Water. That's right, Noah Cross and others have hatched an elaborate scheme to suck dry the San Fernando Valley, which will make the orange growers go broke. They will then divert the water away from it, to Los Angeles specifically, buy the land located there for cheap amounts, and then re-direct the water back to the Valley so the property becomes fertile, which would therefore make the price of the land increase. Ultimately, I suppose we are dealing with money, but the product being transported around is water, and what many might not realize is that Robert Towne's screenplay is taken from true events. The Owne River Valley scandal of 1908 did indeed occur, but Towne changed the year, and tossed in some fictional characters.

Upon its release, Chinatown was described as a "neo-noir" film, which basically means that it utilized elements of classic "film noir", but with updated themes and styles. The "modernized" style is color instead of black & white. Until then, crafting a noir effort in anything but black & white seemed impossible. The term "neo-noir" is still used by some, but mainly so people can act intelligent. The truth of the matter is that, as the years have gone by, separating various classics of the noir genre is ridiculous. A great noir offering, whether it be color or not, is great no matter what. The definition of noir may have changed a bit from when it first began, but the signifcance is deeper than the inclusion of black & white or color. In fact, more films are described as containing "noirish elements" laced with another category. Whatever one considers noir to mean to them, there is no denying the influence Chinatown had on the genre as a whole.

The 1970's mark a very good time to be Jack Nicholson. His career started in an endless array of B-movies and other exploitation titles, but in 1969 he was on the rise after his contribution in Easy Rider. The next decade would commence with Five Easy Pieces and include The Passenger, One Flew Over the Cuckoo's Nest and The Last Tycoon. But it was Chinatown that cemented his accessibility to audiences. His turn as J.J. Gittes is simply sensational, and acts as the ideal guide for those watching the events unfold. Nicholson is surely the only actor who could have played this part, and of course Gittes was written with Nicholson in mind. Towne took advantage of Nicholson's spontaneous veracity and simultaneous easygoing manner of speech that would make him own the role.

Many critics and reviewers have made mention that Gittes is unlike many of the private detectives of famous film noir, ones that might inhabit a Dashiel Hammett novel. He can exchange acerbic banter with males and get down and dirty like anyone else, but a hearty portion of his "toughness" is a facade. The audience knows he cares for his clients moreso than than he should in the opening scene with Curly (wonderfully portrayed by Burt Young), upset over his wife's affair. He calms the man, and offers him a drink. Gittes' acute professionalism is apparent when he presents himself as a thick-skinned private eye, but his heart reveals itself soon enough. What further identifies Gittes is his intelligence. He is commonly seen reading the paper, and he seems to do his homework on small details.

The characters of Chinatown gracefully rise above their noir stereotypes. Faye Dunaway is recognized as the femme fatale of the picture, and in some ways she is precisely that, but in the end, her part in the proceedings is more than just that of a woman who seduces the hero only to betray him later. Her agenda is more personal, and the way she carries herself is more reserved and cautious. She possesses a profound humanity that seeps out as the truth becomes clearer. She tempts Gittes while hiding her motives beautifully. Dunaway's chemistry with Nicholson is not iconic, but it is exceptional. Not many actresses in the 70's had the ability to draw the viewer with beauty, mystery, and danger, but Dunaway finds the balance effortlessly, and with the rest of the cast, aids in causing the twists to be increasingly startling.

The moment Gittes observes the photos of Hollis Mulwray and the individual we would come to know as Noah Cross, viewers should be 100% certain of who the central villain is. Yes, John Houston brought with him a career at the helm of many masterful efforts in film noir, and he knew the territory inside and out, but his incomparable performance holds up for more reasons than his reputation and resume heading in. Houston understood that this wicked man needed to be almost totally original. Noah Cross is a very likable gentleman in many ways, but his corruption is immovable. After all, he gives Gittes a fish meal with the head still attached. That minor image speaks volumes for the ruthlessness of Noah Cross. And Houston inadvertantly delivers some of the memorable humor when he mispronounces Jake's name as "Gitts."

Every piece of the puzzle needed to fit properly into place for Chinatown to have and hold the status of a classic, but what keeps me coming back to admire its splendor is the visual prowess. John A. Alonzo's cinemaography gorgeously captures the fully fashioned and staged art direction, not to mention the production design of Richard Sylbert and W. Stewart Campbell. The way the sun beams in through Gittes' office, or the way the sunset ominously watches as he explores the dry land and reservoirs. The bright colors of Cross' gardens, or of Evelyn's patio is staggering. Sam O'Steen's editing is also of the highest caliber. Take for example the scene where Gittes falsely enters the reservoir and meets the cops. The body of Hollis Mulwray is revealed, and immediately the sequence transitions into another setting.

Of the 11 Oscar nominations, only Robert Towne walked away victorious, and rightly so for his screenplay. Towne's mixture of history and fiction is amazing, and the method in which he deposits and spreads the material is such that admiration for the story alone never wanes. Notwithstanding the quality of Towne's script, Polanski was smart enough to make changes where they were necessary and wise, specifically the conclusion, and the importance of the title. Initially, Towne had no sequences in Chinatown. It was only referred to from Jake's past. Polanski was the one who thought the final climax would be more effective and impactful if it transpired in the titular area. Chinatown represents Polanski at the peak of his powers, right before the statutory rape case would alter his entire life. His filmmaking is smooth, yet firm.

Chinatown is one of those cases where the absence of an upbeat ending was crucial. The shocking death leaves the viewer stunned and silent, and to this day, it remains unnerving. A movie like this would never be greenlit today, and even if it were, the ending would surely be shaped to suit those who dislike "depressing" endings. Luckily the powers at be were not affected by this hang-up. Not every story ties up nicely with a smile. Mr. Gittes would make one more appearance on the big screen, in 1990, under the direction of Jack Nicholson in another Robert Towne screenplay, the extremely underrated The Two Jakes. Towne envisioned a trilogy, which would have concluded with Cloverleaf. Chinatown was about water, The Two Jakes dealt with gas, and Cloverleaf was to focus on a famous interchange. It's a shame we never had another adventure with Gittes, but thankfully we can cherish the existing ones.

Legendary are the rumored battles that took place during the filming of Chinatown. Polanski seemed to have arguments with everyone. He and Towne constantly bickered over the script, he and Nicholson had an explosive fight that scared the crew, and last but not least is the trouble with Faye Dunaway. If not for the fire and passion that raced through every cast and crew members body, those arguments may have never occured, and the production would have finished without a hitch. But in this case, no problems would have been a negative. A battle won here, and another lost there made distinct differences. Even the score was up in the air. At the last minute, Jerry Goldsmith was hired, and in 9 days he handed one of the greatest noir themes of all-time. The sound of that trumpet is so poignant and fitting, and lingers in one's head, especially during that last moment when the camera raises up over Chinatown and J.J. Gittes world is shattered.

The Video

The DVD treatment for Chinatown has been fairly satisfactory up until this point, and Paramount makes sure the experience is fulfilling. The colors are pristine and balanced effectively. This movie has a bit of coarseness to be observed, but not too much, just enough to maintain the look of 70's classic. The all around image quality is sharp and define, while the black levels are full and deep. Chinatown is not difficult to clean up, and with this latest transfer, all is mopped to a glimmering shine. The anamorphic widescreen with an aspect ratio of 2.35:1 is fantastic.

The Audio

The most notable sound from Chinatown is of course the water, which sounds terrific as Jake explores and gets caught in the reservoir. The occasional gun shot emanates, and perhaps a car screeching will be heard, but Chinatown is still a mild film in terms of giving your speakers a workout. The speakers do pick up the background noise well though. Every character is lucid and understandable, and my volume knob rested at a comfortable position. This new edition is packed with audio formats: Dolby Digital 5.1 Surround (English), Dolby Digital 5.1 Surround (French), Dolby Digital 5.1 Surround (Portuguese), Dolby Digital 5.1 Surround (Spanish), and Dolby Digital 2.0 Mono (English). Subtitles in English, Spanish, Portuguese, and French are also included.

The Packaging

Chinatown - The Centennial Collection is distributed in an Amaray black keep case that is a bit shinier than the regular kind. It houses 2 discs on the inside that are gold, and includes a mini booklet with thoughts on the film as well. The artwork is not the same as the original poster or DVD, but it is still attractive. I've always enjoyed Gittes' smoke rising into Evelyn's face though. This time, the Centennial Collection has not included the cardboard slip sleeve case on top of the keep case. Maybe some have it because it is visible on Amazon, but everyone I've spoken to has not found it. The menus are simply images of the cover with music, and are easy to navigate.

The Extras

Audio Commentary - The golden nugget of this brand new "triple-dip" is this commentary with screenwriter Robert Towne and David Fincher. I cannot even fathom how many times David Fincher has seen this movie. He points out things no one would notice. Even Towne is shocked when he asks certain questions. Towne is a rather laid back fellow though. Having said this, the two share a very intelligent, profound, and humorous discussion. They will make you appreciate each scene, even the smallest details. This is well worth the upgrade.

Water & Power (1:17:46) - This all-new documentary is divided into three sections: The Aqueduct, The Aftermath, The River & Beyond. This takes you inside the real river valley scandal from the early 1900's, and gives you interviews with the relatives of the those involved, and the existing ranchers of the area. Michael Moore could take lessons from this documentary as it offers opinions from both sides of the fence, which I loved. They also touch on the influence of the film and the misconceptions it caused. The first two segments focus on the scandal and what it meant to the area today. The final portion delves into the Los Angeles area and how they plan to treat their local water supply. This was much more fascinating than it had any right to be, and even though it is long, we should appreciate extras that go the extra mile.

Chinatown: An Appreciation (26:13) - The main interviews are with Steven Soderbergh, Roger Deakins, and James Newton Howard, all of whom definitely love the film, and have a blast talking about their memories of it, and how masterfully it was made. This is also separated into sections: First Impressions, Crafting the Story, The Perfect Cast, An Avant-Garde Score, and Final Thoughts. They go in depth fairly easily here, but this makes the bonus features that much better. These are not cookie-cutter extras with forgettable thoughts from the cast and crew. Everyone that participates has a lot of important information to share, and is quite passionate.

Chinatown: The Beginning and the End (19:30) - This is the meat of the extras as Roman Polanski, Jack Nicholson, Robert Towne, and Robert Evans tackle some of the controversial behind the scenes happenings, various decisions, how Roman got hired, and much more. Faye Dunaway is not avilable, but that's ok. The responses to questions about the arguments is outstanding.

Chinatown: Filming (25:36) - This peers deeper into the intricate facets of the filming process, and there is even a chat about the Faye Dunaway situation. From the amount freedom Polanski had, to the framing and locations, it is almost all covered in one of these featurettes. The way these are separated on the DVD does make sense, and it is not just to show people how many special features have been added.

Chinatown: The Legacy (9:40) - Polanski mentions that The Pianist is his best work, but maybe Chinatown would be second. He has been knocked silly I think, but oh well, I enjoyed listening to his thoughts. They talk about how they thought it would be a failure, and even mention the early screenings, and the problems with the score. This was good as well.

Theatrical Trailer (3:21) - This was made during a time when long trailers were still customary. This is too long, but it was cool to have it here.

The Film: 10.0/10.0
The Video: 9.0/10.0
The Audio: 9.0/10.0
The Packaging: 8.5/10.0
The Extras: 10.0/10.0

The 411: Chinatown has been released on DVD now three times, and I can't see it improving beyond this. The film is still a masterpiece, and I can still watch it over and over again and still find something new I didn't notice before. That is a testament to Robert Towne's wonderful script and Roman Polanski's flawless direction. Jack Nicholson created one of cinema's best detectives in J.J. "Jake" Gittes. This new Cenntial Collection DVD is a worthy addition to your collection, and if you already own the DVD, you might not want to upgrade, but the new commentary and documentary are worth the extra money. During all this news about Polanski's arrest, it is nice to look back at a time when he was just a great filmmaker.

Final Score:  9.0   [  Amazing ]