In Chinatown, Faye Dunaway and Jack Nicholson smolder against the backdrop of circa 1937 Los Angeles, depicted as a hotbed of corruption in a narrative firmly grounded in historical reality. Director Roman Polanski called the plot twist at the heart of this quintessential mystery movie—his last American film—the “very darkness of the human soul.” Penned by Robert Townes and produced by Robert Evans, the plotlines of this Chandler-esque neo-film noir are as intricately woven as the meticulous period wardrobe worn by Dunaway in her spectacular embodiment of the glamorous, yet tragic Evelyn Mulwray. While Dunaway dazzles on screen, it is her wardrobe, crafted by costumer Anthea Sylbert, that sets the film’s tone. Much like the veil that shields Dunaway’s face from the probing lens of cinematographer John Alonzo, the details of Mulwray’s sordid story remain obscured for most of her screen time. Nicholson’s three-piece suits are no less sensational. Sylbert, who had collaborated with Polanski on a previous masterpiece, 1968’s Rosemary’s Baby, was nominated for an Academy Award for Best Costume Design, but lost to Theoni Aldredge, the deft hand behind the Robert Redford-led adaptation of The Great Gatsby. In fact, Chinatown was nominated in 11 Oscar categories in 1974, yet won just one: Best Original Screenplay. Nevertheless, Chinatown continues to reverberate with filmgoers and movie critics, many of whom have declared it the greatest film of all time.
Chinatown | 1974 | Director: Roman Polanski | USA | Runtime: 131 minutes
Join us for this screening on Sunday June 23 at 2p in the Auditorium. Refreshments available for purchase in the Cafe.