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Summary: Jack Nicholson is private-eye Jake Gittes, living off the murky moral climate of sunbaked, pre-war Southern California. Hired by a beautiful socialite to investigate her husband's extramarital affair, Gittes is swept into a maelstrom of double dealings and deadly deceits, uncovering a web of personal and political scandals that come crashing together for one, unforgettable night in Chinatown.
The film's greatest strength is the many, many surprises that the plot has in store. By the film's end, we have been confronted by so many revelations that the beginning of the film seems an eternity ago. Add to that the commanding (yet somehow eerily comfortable) performance of Nicholson in the lead role. What we then have is a powerful screen presence to carry us through a well-constructed mystery. A great movie.
cinayet, cinayet arastirmasi, dedektif, su islaeri müdürü, baraj, ensest (Bir kadin dedektif gittes'e kocasini takip ettirir. Gittes kocayi takip eder ve baska kadinla yakalar kendisi sizdirmamasina ragmen olay basinda patlar. Ama isi aldigi kadin adamin gercek karisi degildir. bunun üzerine gittes aramayi derinlestirir. bu arada söz konusu su isleri müdürü adam barajda kazada ölür. cinayettem süphelenen gittes sorusturmayi genisletir. Barajla ilgili yolsuzluk ve enseste giden karmasik bir olay)
Utterly immersive; obviously Nicholson is great but as the plot thickens and thickens what really stands out is Polanski's direction - there are no jump cuts, no fancy transitions, but it tells the story brilliantly - stylish, evocative and unrelentingly atmospheric. The ending is magnificent. On second viewing it's actually Dunaway and Huston who shine most, to the extent that if ever an actor isn't pulling their weight playing the "nasty old man" I just wish the former was in it somehow.
Long after the advent of Noir, Polanski managed to perfect the form. Take one of the best screenplays ever written, plunk down Nicholson at the height of his skills, and you get classic. Goldsmith's music don't stink either.
jack and faye is a pretty amazing pairing, and the ending is up there with The Tenant as far as insane polanski climaxes go. i think the rest of the screenplay isn't quite as legendary as it's made out to be, but this is still the best of the second wave noirs