What Makes a Movie a Classic?

You always hear about movies being “classics.” Casablanca, 12 Angry Men, or A Streetcar Named Desire may all seem like stuffy black and white films that were created a long time ago for vastly different audiences. And they are.

            But inside of each of them is an enduring brilliance, a perfection of filmmaking craft, and big-time performances by big-time actors. From the camera work to the directing and writing, these films exude excellence all around, from the opening shot to the final lines. 

            Last night I couldn’t get to sleep, so I went to Netflix online and watched Chinatown. Maybe you’ve heard of it, maybe you haven’t. It was on a list of classic movies I’m mowing down this summer, so I decided to check it out. I was blown away.

            This film, like many classics, features big-time actors giving big-time performances. The film’s lead, Jack Nicholson, is at his finest in Chinatown, with the way he takes on the personality of J.J. Gittes, a dark, witty and confident private detective who specializes in matrimonial affairs. His lines are effortless, his timing spot on, and his mastery over his character is clear. In Chinatown, he is on top of his game as a shrewd, well-dressed, smooth talking, cigarette smoking ex cop turned PI.

            Complementing him on the female side of the cast is Faye Dunaway, one of American Film’s greatest female stars. She broke out in Bonnie and Clyde alongside Warren Beatty, another good looking, smooth talking male lead. In Chinatown she plays the wealthy widow of Hollis Mulwray, the late Chief Engineer of the Los Angeles Water and Power Department. Dunaway’s acting is terrific and terrifying as an exceedingly nervous and neurotic chain-smoking femme fatale who is keeping secrets from Nicholson’s character. Their chemistry is electric and sexually charged, and it creates an entire drama outside of the film’s plot.

            If the acting wasn’t enough, the film is directed by Roman Polanski, one of film’s most accomplished and respected directors. He envisions scenes in the movies beautifully, with stunning cinematography of the L.A. river, countless shots that frame Dunaway and Nicholson against picturesque backgrounds, and crisp, refreshing sets.

            Finally, the writing of the film is outstanding. We the audience, follow Nicholson’s character as he uncovers lie after lie and digs deeper into what’s really going on behind the murder of Hollis Mulwray. There film keeps the audience entertained with obstacles that Nicholson must overcome, only to find more in his way. The dialogue is great, the writing is clever, and the use of props is excellent.

In one scene, Nicholson benignly picks up a business card from an L.A. waterworks department member’s desk, and then uses the same card to gain access into a private city reservoir. Once there, he finds the corpse of Hollis Mulwray, prompting more intrigue and wonder from the audience, and leading Nicholson to more detective work. These scenes were carefully designed, well thought out, and not at all by accident, with the way that props facilitate action and plot in the story. 

I’d really encourage you to watch this movie—and it’s free online if you have a Netflix account. Though made in 1974, it is still fun and entertaining to watch because of the excellence and craft in acting, directing, and writing.