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A private detective hired to expose an adulterer finds himself caught up in a web of deceit, corruption and murder.

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Top Rated Movies #121 | Won 1 Oscar. Another 20 wins & 23 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Darrell Zwerling ...
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Loach (as Dick Bakalyan)
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Nandu Hinds ...
James O'Rear ...
Lawyer (as James O'Reare)
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Storyline

JJ 'Jake' Gittes is a private detective who seems to specialize in matrimonial cases. He is hired by Evelyn Mulwray when she suspects her husband Hollis, builder of the city's water supply system, of having an affair. Gittes does what he does best and photographs him with a young girl but in the ensuing scandal, it seems he was hired by an impersonator and not the real Mrs. Mulwray. When Mr. Mulwray is found dead, Jake is plunged into a complex web of deceit involving murder, incest and municipal corruption all related to the city's water supply. Written by garykmcd

Plot Summary | Plot Synopsis


Certificate:

R | See all certifications »

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Details

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Release Date:

20 June 1974 (USA)  »

Also Known As:

Barrio Chino  »

Box Office

Budget:

$6,000,000 (estimated)
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Company Credits

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Technical Specs

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(Technicolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The name of Water and Power engineer Hollis Mulwray is likely a play on the real-life head of the Los Angeles Department of Water and Power, William Mulholland (1855-1935). A man obsessed with an engineering challenge of epic proportions, Mulholland brought the Owens River to Los Angeles-which turned the previously lush Owens Valley into a virtual desert-through a combination of determination and deceit. See more »

Goofs

During the "Mulvihill! What are you doing here?" scene, elevator call buttons are modern, automatic elevator type with lights. In the 1930's, elevator call buttons were generally black and had no lights. See more »

Quotes

[first lines]
Jake Gittes: All right, Curly. Enough's enough. You can't eat the Venetian blinds. I just had them installed on Wednesday.
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Connections

Referenced in American Cinema: Film Noir (1995) See more »

Soundtracks

I Can't Get Started
Ira Gershwin and Vernon Duke
As Recorded by Bunny Berigan and His Orchestra
(Courtesy of RCA Records)
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Frequently Asked Questions

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User Reviews

 
Marvelous
30 January 2002 | by (Deming, New Mexico, USA) – See all my reviews

There is a word, impossible to spell, that describes the alignment of solar bodies like the planets when they all fall into place together. A similar word would describe this film. Everything about it is right. Polanski never directed a better movie. The performers, down to the lowest atmosphere person, are superb. The editing, the score, the sound, the decor, the dialog, all are just about flawless. The photography is peerless. The white garden apartments, the terra cotta roof tiles, the palms and desert sand are all painted with a faint gold, faintly ripe with false promise, like the oranges that bounce from Gittes' desperately speeding car in the northwest Valley.

Polanski deserves much of the credit. When Gittes surprises Evelyn Mulwray in her car, after he follows her to her daughter's house, her face slumps forward and beeps the horn briefly. Then, so faintly, we hear a few dogs bark in the background. Not only is the scene itself exquisitely done but it prefigures the ending, as does Gittes' remark earlier to Evelyn that she has a flaw in her iris. The movie is too good to deserve much dissecting. It stands repeated watching. If there is anything wrong with it, it is the serious and tragic ending that Polanski always insists on tacking on. Robert Towne was right and Polanski wrong in this case. Everything came together on this film. It's not only the best detective movie ever made; it's one of the best movies ever made -- period. A marvelous job by everyone concerned.

I have to add (6/27/05) that the word I mentioned in the first sentence is spelled "syzygy." Man, did I get enlightening email on that. I might as well add two other impressive features of this movie. (1) Polanksi takes his time. Example: Gittes sneaks into Hollis Mulwray's office and begins to go through the drawers of his old-fashioned wooden desk. As he slides each drawer out, Polanksi gives us a shot of their humdrum contents (checkbooks, magnifying glass, and so forth) and we can almost smell the heat and the odor of shellac and sawdust emanating from the wooden containers. The contents reveal nothing of importance in this case. But (2) sometimes irrelevant information crops up that resonates later in the film with its own echo. The detail might be just a word ("applecore") or an ordinary object (a pair of spectacles found in a pond, immediately after Gittes imitates the Japanese gardener's remark that the water is bad for the "glass.") Some of the references may be so consistent as to constitute a theme (water). None of this hits you over the head with its significance. It's all very neatly stitched together.


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