Both an homage to and a re-working of classic film noir cinema, Roman Polanski’s 1974 Chinatown, a technically superb and multi-layered film about the corruption of politics and morals, stuns its protagonist to the core of his self when he opens a Pandora’s box of shamelessness.
Compare the smiling and radiant face of J. J. Gittes – like the 1930s sunny Los Angeles itself – at the beginning of the film, when he is talking to the allegedly Mrs Mulwray, with the horror at the end, after he has witnessed the reach of human depravity. Never has a private eye been taken for such a ride or taken so many things for granted. The magnitude of the transformation in the protagonist’s face mirrors the disparity between the world before the 1970s and the prevalent cynicism of nowadays. Continue reading