Chinatown (1974)

He nose you know!
Chinatown is directed by Roman Polanski and written by Robert Towne. It stars Jack Nicholson, Faye Dunaway, John Huston, Perry Lopez and John Hillerman. Music is by Jerry Goldsmith and cinematography by John A. Alonzo.
Private investigator J.J. Gittes (Nicholson) is working on an adultery case but quickly finds himself embroiled in murder and corruption.
The gathering of Polanski, Towne, Nicholson and Robert Evans (producer) put their respective skills together to craft one of the most lauded neo-noir films of all time. It's a searing picture awash with the staples of the film noir and gumshoe detective movies that graced cinema in the 40s and 50s. From the characterisations (suspicious femmes - mouthy coppers - sleazy kingpin - tough protagonist in a whirlpool of unravelling layers), to the hard boiled script, violence, sex and brutal revelations, it's a noir essential that only lacks chiaroscuro and expressionistic swirls to seal the complete deal.
Allegoraries unbound, iconography assured and dialogue now in the lexicon of legends, Chinatown is not to be missed, not just by fans of noir, but fans of cinema, period. 9.5/10

I think this might be my favourite role from Faye Dunaway. She is "Evelyn", a woman who suspects that her husband "Hollis" (Darrell Zwerling) is playing away from home. She engages the services of the cynical PI "Gittes" (Jack Nicholson) and pretty soon people are dead and he is embroiled in an internecine story of adultery, corruption and manipulation that proves pretty perilous for a detective who is working with one women he suspects is being a bit frugal with the truth and another whose identity he is desperately struggling to discover. Nicholson is also on super form, his performance is natural and engaging with a solid chemistry between his and Dunaway adding a richness to this rather quirky plot. Roman Polanski has assembled a strong supporting cast - notably John Huston who features sparingly but effectively as her wealthy, untrustworthy, father "Noah" and the photography does a great deal to help generate a sense of accumulating intrigue as we gradually make some headway through this complicated and interesting character study. The production looks great - the 1930s costume and motor cars alongside a smattering of the simmering attitudes that prevailed at the time are encapsulated well too. It's a shade over two hours, but it hits the ground running and never really stops until the ending that though not entirely unexpected, still has enough elements of surprise to keep it compelling.