Chinatown
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Context
Some of film historys most memorable directors created films that were obviously autobiographical–for example, Woody Allens Annie Hall (1977), FranÐ*ois Truffauts The Four Hundred Blows (1959), and Federico Fellinis 8 1/2 (1963). The heroes in these films often seem to be simply better-looking versions of the director (with the exception of Woody Allen, who plays himself). Chinatown, released in 1974 but set in 1937 Los Angeles and starring Jack Nicholson as a hapless private investigator battling real estate crooks, doesnt seem at first glance to fit into this category. Director Roman Polanski didnt come to L.A. until 1968, never worked as an investigator, and hardly resembles the brash, all-American Nicholson. Nonetheless, Chinatown does draw heavily on Polanskis life and experiences. Though the main character, Nicholsons Jake Gittes, is not a stand-in for Polanksi, the directors biography is fragmented and refracted onto many separate elements and characters in the film, which both recalls his lifes tragedies and foreshadows the scandals that would subsequently befall him.
Polanski was born in Paris on August 18, 1933, to a Polish father and Russian mother, both Jewish. Some of his first memories, however, would be of Krakow, where the family moved three years after his birth to escape rising anti-Semitism in France. Nazi Germany invaded Poland in 1939, and when Polanski was seven, he witnessed the construction of a wall marking his neighborhood as a Jewish ghetto. His parents were soon sent to concentration camps. Polanski escaped the camps by hiding with a local Catholic family his father had bribed, but he had to manage largely on his own, cowering in barns and, on at least one occasion, dodging the bullets of German soldiers. After the war, Polanski reunited with his father, but his mother had perished in a Nazi gas chamber.
Polanski entered art school in Krakow when he was around seventeen years old, spending his free time with acting groups and in movie theaters, which screened primarily German films. In 1954, the elite state film school in Lodz welcomed Polanski as one of only six accepted students. After graduating in 1959, Polanski made several short films, garnering only lukewarm critical response. In 1962, however, his first feature-length film, Nуz w wodzie, was well received and even nominated for an Oscar for Best Foreign Language Film after its American release (as Knife in the Water) a year later. Eager to take the international stage, Polanski left Poland for England, where he directed three modest successes: Repulsion (1965), Cul-de-Sac (1966), and Fearless Vampire Killers (1967), the last of which starred American actress Sharon Tate, who soon became his wife. The couple settled in Los Angeles, where Paramount producer Robert Evans invited Polanski to direct Rosemarys Baby (1968), based on the novel by Ira Levin. The occult thrillers huge popularity secured Polanskis professional reputation, showcasing his compositional perfectionism, his ability to sustain a suspenseful and gripping narrative, and his strikingly bold artistic flair.
The triumph of Rosemarys Baby, however, did not last long. On August 9, 1969, cult leader Charles Mansons “family” attacked the Polanskis Beverly Hills home, murdering a pregnant Sharon Tate and her four guests. Polanski, who had been abroad the evening of the murders, was devastated. Harassed by the relentless American media, he retreated to Europe to make Macbeth (1971). That films extreme violence reflected aspects of the Manson slayings. After mistakenly trying his hand at comedy with the little known and unsuccessful What? (1972), Polanski reluctantly agreed to return to the United States to work with his old friend, producer Robert Evans, on Chinatown. Though it was Robert Townes masterful screenplay that had lured him back to the States, Polanski made many revisions to it. While Towne fought in favor of an optimistic film, Polanskis haunted and pessimistic vision prevailed, marking the picture with a devastating flourish that signified the hopelessness of a world gone rotten.
Chinatowns dark theme is one of the elements that places it in the category of neo-noir, the second generation of the genre known as film noir. Though the precise history of film noir is difficult to define (the term was coined in the journal Cahiers du Cinйma by Nino Frank in 1946), this genre evolved through a combination of German expressionistic drama (such as F. W. Murnaus 1922 Nosferatu), American gangster