Released in 1974 and directed by Roman Polanski, Chinatown is often mentioned among the best films ever made, and that reputation is absolutely deserved. It takes the detective noir formula and turns it into something darker, smarter, and far more unsettling than most films in the genre. This is not just a mystery. It is a story about power, corruption, and how truth does not always lead to justice.
Jack Nicholson stars as private investigator J.J. “Jake” Gittes, and it is one of the best performances of his career. Nicholson gives Gittes confidence, charm, and just enough arrogance to make him feel real. He is sharp and observant, but he is not invincible. That vulnerability is what makes the character so strong.
The story begins with what seems like a simple adultery case involving Hollis Mulwray, the chief engineer of Los Angeles’ water department. But once Mulwray turns up dead, Jake finds himself pulled into a much larger conspiracy involving land deals, corruption, and some of the darkest secrets hiding beneath the city’s polished surface.
Faye Dunaway plays Evelyn Mulwray, and her performance is one of the emotional anchors of the film. She brings mystery and fragility to the role without ever feeling weak. Evelyn is far more complicated than she first appears, and Dunaway handles that complexity perfectly.
Then there is John Huston as Noah Cross, one of the most quietly terrifying villains in film history. Huston does not play him as a loud monster. He is calm, wealthy, and completely certain of his own power. That confidence makes him far more disturbing.
Robert Towne’s screenplay is legendary for a reason. The writing is precise, layered, and patient. Every conversation matters. Every clue builds naturally. The film respects the audience enough to let the mystery unfold instead of overexplaining everything.
Polanski directs with incredible control. He keeps the tension building slowly, allowing the audience to discover the truth alongside Jake. There are no wasted scenes. Even quiet moments feel loaded with danger because you know something is wrong beneath the surface.
Visually, the film is stunning. It captures 1930s Los Angeles with a sunlit beauty that contrasts perfectly with the darkness of the story. This is noir in bright daylight, which somehow makes it feel even more unsettling. Evil is not hiding in the shadows. It is standing in plain sight.
Jerry Goldsmith’s score also deserves praise, especially considering how quickly it was created. The haunting trumpet theme gives the film a sadness that lingers long after scenes end. It helps make the entire story feel tragic rather than simply suspenseful.
What makes Chinatown such an excellent film is that the mystery itself is only part of the experience. The deeper story is about systems of power and how ordinary people are often crushed by forces much bigger than themselves. Jake can solve pieces of the puzzle, but he cannot fix the world.
The famous ending is one of the best and bleakest in film history. It refuses the easy comfort of justice or clean resolution. Instead, it leaves you with the brutal reality that sometimes the people with power simply win. That honesty is what makes it unforgettable.
Unlike many detective stories where the hero uncovers the truth and saves the day, Chinatown understands that knowledge does not always equal victory. Sometimes understanding what happened only makes the tragedy worse.
Over time, the film has only grown stronger in reputation because its themes remain timeless. Corruption, greed, abuse of power—none of that feels locked to the 1930s setting. It feels just as relevant now.
In the end, Chinatown is an excellent film because it combines brilliant performances, flawless writing, and one of the strongest endings ever put on screen. It is smart, haunting, and deeply uncomfortable in the best way. It is not just a great detective movie. It is one of the greatest films ever made, period.