![]() Jack Nicholson and Faye Dunaway have arguably never been better than in “Chinatown ” the former plays the Private Eye who believes in capital-T Truth even though he knows it’s foolish, conveying hard-bitten cynicism and righteous decency in the same breath, and the latter embodies the mystery and elegance of a classic Femme Fatale who’s one step ahead of her man, but infused with a distinctly modern sensibility. “Chinatown” excites and enthralls not just in its formal beauty, but in its stunning performances and its thematic depth. Thus, some people believe “Chinatown” is antiseptically cold, a film to be looked at and admired, like paintings in a dusty museum, rather than felt or experienced. There isn’t a wasted shot in “Chinatown” every frame of the film communicates something essential and is masterfully conceived, and “Chinatown” wants you to know this. Roman Polanski’s “ Chinatown” is a perfect film, but its perfection lies in its craftsmanship. There are many different schools of thought on what constitutes a “perfect film,” but you know one when you see one. This is the Criticwire Classic of the Week. Every now and then on the Criticwire Network an older film gets singled out for attention. ![]()
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