Abject Failures Worthy of Reevaluation

 

With this sort of/kind of being "Oscar season", I have been planning to revisit "Chinatown" (1974). It is a big film. A film that I so often see touted with great acclaim. "The Two Jakes" (1990), on the other hand, not so much. So, for some reason, I was very interested in watching this "sequel" to the much revered "Chinatown". It was on some premium channel called HDNet, not exactly a name of any significance, though, plenty of high quality titles (and some rather obscure, not as well known, films, too) are on it. Now, "The Two Jakes" is not a film that ever flew up on my radar like some bird out of the sky swooping down. It was directed and stars Nicholson, and it was set during 1948 LA. It looks very much like 1948 LA with art design, costume design, and (my favorite part) the vehicles driven often, particularly Nicholson's private dick, Jake Gittes. It was based on a screenplay from reliable Robert Towne, who was hoping to complete a trilogy. I researched this a bit and it seems to have been a production nightmare, with recasting issues and money problems. Whatever the case, I personally thought "The Two Jakes" was exceptional filmmaking. I see "convoluted" lobbed at it a lot by those critical of it. And, unfortunately, when following "Chinatown", the monumental elephant in the room ("will the sequel be able to match or at least compete in quality with the masterpiece it follows years after?") seems to be an inescapable shadow that envelopes it no matter how good it might be. But "The Godfather II" was similar and it was up for the challenge. Saying that, no one would ever put "The Godfather II" and "The Two Jakes" anywhere close to each other. But I really did love "The Two Jakes". It all comes down to oil, as Farnsworth is after it, willing to drill for it on another person's land (the other Jake of the film, Harvey Keitel), while Blades is in business with Keitel over tract houses for GIs and their families, a big money venture. Madeleine Stowe (she was in EVERYTHING in the early 90s) was the wife of who Keitel murders, a business partner in bed with Keitel's wife (Meg Tilly, actually a very important character tied to "Chinatown" and Faye Dunaway's incest victim). All of this leads back to "follow the money". I love neo noirs, the kind where Hollywood looked to feature retro detective crime thrillers so prevalent in the 30s, 40s, and 50s, especially from the likes of Warner Bros and RKO. Renowned cinematographer Vilmos Zsigmond presented exciting camerawork that really moves with the plot, very action-oriented. This is never a static film, although it does compose its actors, capturing faces in different emotional states when the plot offers plot developments that impact characters. Like when Keitel's illness is discovered by Nicholson, details about Tilly are unveiled on a recording that the authorities and Keitel's own associates want either destroyed or in their possession as proof of premeditated murder. Nicholson's promise to protect Dunaway's daughter is a very important part of the emotional side of the developing story, particularly towards the end. If I had a problem in the performances it was Stowe's rather over the top Lillian Bodine, especially when seeking to fuck Nicholson on the floor of his office after listening to the recording of her husband's murder. She gets all the details a judge in court does not...much to her anger. 

I think Keitel has such a fantastic scene at the end when he admits to Nicholson that his withdrawal from Tilly was because of his illness. It is such a release of vulnerability and sadness that is just tragic. And Nicholson actually comforting him, actually providing emotional support, is surprisingly poignant. He genuinely was hurt by Tilly's betrayal but understood why she went to the arms of another man. The "trial" that later results from the shooting that results from Nicholson uncovering adultery goes through some twists and turns that would seem to paint Keitel one way but ultimately reveals another person who isn't just some thief looking to kill the detective over what is heard on a tape. Blades can be quite intimidating as Mickey, owner of a Parrot Club (that has free homosexual dancing and dating) and Keitel's associate. Tilly, as a blonde, is still a knockout, even if I prefer her in her raven hair color.

I guess I grooved to the period setting, the way Zsigmond shoots the action and story, Nicholson's star power (and he's a really good person, despite the sordid details that often result from his line of work), and how sunny the LA locations are. The film is really bright. For a noir, there aren't a lot of lurid night scenes or even a whole lot of actual violence and death. Perhaps that might be why the film doesn't compare favorably to "Chinatown". Maybe, I think this is a film--and there are plenty out there--that could use a critical reevaluation. It had a robust production cost, but I thought the film sure benefited from it.4/5

***Eli Wallach as Keitel's attorney is an absolute hoot, always "encouraging" Nicholson to turn over the tape to him. His work in the courtroom, in how he adroitly counters his opposing counsel and seems to connect with the judge through this "what gives?" routine, challenging what is "left" on the recording when it seems Keitel might be in the clear, is amusing.***

***David Keith as a cop who is very adversarial with Nicholson reminded me of those police often quite hostile and inhospitable with Bogie's own PIs. When Nicholson and Keith get into a police precinct altercation and Nicholson hovers over, telling Keith to suck on his gun (resulting in Keith urinating on the floor!) is a gem of a moment in the film***