Film
Chinatown
1974, 2024 Edition
36″ x 24″ (91 x 61 cm) Single Sided – Signed and Hand-Numbered #175/500 Limited Edition Print by Laurent Durieux
USA
Near Mint – Rolled (as issued) – Flat/Unfolded
Roman Polanski
Darrell Zwerling, Diane Ladd, Faye Dunaway, Jack Nicholson, John Hillerman, John Huston, Perry Lopez, Roy Jenson
“Forget it, Jake. It’s Chinatown.”
Roman Polanski’s “Chinatown” is one of cinemas finest detective movies accompanied by an incredible marketing campaign headed by Jim Pearsall in 1974. This multi-award winning film has been complemented by a series of alternative movie posters over the years with this most recent commission by Laurent Durieux is the best and destined as a future classic. Much like a fine wine Durieux’s art prints age very well, getting better and better with each viewing. and he has produced an outstanding addition to the title, truly eye-catching and super stylish. The deep, rich colours are predominantly blues and purples with ‘Chinatown’ printed in contrasting bright pink ink. Originally rolled (as issued) this signed and hand-numbered offering (#175/500) looks and displays to excellent effect with very minimal handling wear. An extremely scarce, selling out in near record time modern art print, collectable item of movie memorabilia from a true Hollywood classic.
Trivia: There is a rumour that this was the first part of a planned trilogy written by Robert Towne about J.J. “Jake” Gittes and Los Angeles. The second part, The Two Jakes (1990), was directed by Jack Nicholson. The supposed third part never existed, as later confirmed by the writer; however, certain elements and details of the story (a corrupt company called Cloverleaf tries to buy up all public transportation in order to replace it with freeways) would later end up in Who Framed Roger Rabbit (1988), which was a film-noir spoof/homage of Chinatown.
The interesting thing about the trilogy concept is that they focused on the three things that were instrumental in making Los Angeles grow the way that it did, which is via the control of water, real estate, and transportation.
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“In 1937 Los Angeles, private investigator Jake ‘J.J.’ Gittes specializes in cheating-spouse cases. His current target is Hollis Mulwray, high-profile chief engineer for the Los Angeles Department of Water and Power, whose wife suspects him of infidelity. In following Mulwray, Gittes witnesses some usual business dealings, such as a public meeting for construction of a new dam to create additional water supply for Los Angeles, as fresh water is vital to the growing community during the chronic drought; Mulwray opposes the dam. Eventually Gittes sees Mulwray meeting with an unknown young woman who isn’t his wife. Once news of the supposed tryst between Mulwray and this woman hits the media, additional information comes to light that makes Gittes believe that Mulwray is being framed for something and that he himself is being set up. In his investigation of the issue behind Mulwray’s framing and his own setup, Gittes is assisted by Mulwray’s wife Evelyn, but he thinks she isn’t being forthright with him. The further he gets into the investigation, the more secrets he uncovers about the Mulwrays’ professional and personal dealings, including Mulwray’s former business-partnership with Evelyn’s father, Noah Cross. The identity of the unknown woman may be the key to uncovering the whole story.”
Chinatown sits securely at the pinnacle of the Neo Noir genre. Fueled by Roman Polanski–Jack Nicholson synergy, anchored by one of greatest-ever original screenplays (written by Los Angeles native Robert Towne), brought to movie-life via PanaVision by brilliant cinematographer John A. Alonzo, and produced by the industry icon Robert Evans, this is one of film’s greatest works of art, and being imo one of the top 20 greatest films ever made – it is a must-see movie.
Chinatown represents the art of film-making in its finest form, exceeding expectations in every reel.
This was Roman Polanski’s last film he made in the USA, and the best and last opportunity to see Jack Nicholson‘s brilliant acting prowess before his characterisation method became (to a large degree) a caricature of himself (albeit doing so perhaps better than any other icon-level movie-star).
Often, this much talent on one set becomes a disappointment. Not this time.
Like many successful collaborations, there were major style differences between Evans, Polanski and Towne – Such “manageable stress” can sink a film, but instead served as a positive catalyst in raising the bar of production and execution.
For those who haven’t seen the film, it is “required” viewing. For those who haven’t seen it in a while, cue it up, and enjoy – like most great films, it just seems to get better with age.
Polanski’s style of film making utilizes a classic Noir movie-making “complete-the-scene” method before moving on – similar to live theatre (Act I, Scene 1, etc) The benefit is fulfilling each scene’s importance to the story and film as a whole – this style works well in Noir films, and his set-up, detailing, and execution is brilliant.
The immaculately detailed set designs, wardrobe, makeup, and authentic restored vintage cars were painstakingly orchestrated by Polanski to transport us back to atmosphere and feel of the golden age of Hollywood circa 1937.
Chinatown is one of the greatest films ever made making it a must-see.
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Mint
A poster that has never been used or displayed and may show the most minor signs of age and wear. The poster should have no holes or tears.
Near Mint
A generally unused poster with fresh, saturated colors. May have minimal tears at folds. Has no significant holes, no paper loss, may have minor tears along edges, may have fine pin holes.
Very Fine
A poster with bright colour and crisp overall appearance. It may have very general signs of use including slight fold separation and fold wear. It may have pin holes or very minor tears. This is the highest grade allowed for a poster that has been restored either on linen or on paper.
Fine
A poster with good colors and overall clean appearance. It may have minor tears small paper loss and minor stains. It may have some fold seperation.
Good
An average poster with overall fresh color. May have tears, minor paper loss, minor hazing. Paper may be brittle due to age, may have minor stains. May have a small amount of writing in an unobtrusive place. May have medium or major restoration.
Fair
A poster with faded colors and brittle paper, showing significant signs of use. May have tears and paper loss. May have tape, writing, stains in image area. In need of restoration or had major restoration.
Poor
A poster that is worn, torn, and/or damaged. May have staining, cracking, dry rot, and/or large tears. May be heavily soiled, may have pieces missing. In need of major restoration.
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LOBBY CARD
11 x 14″ printed on heavy stock paper. Used as display in theatre lobbies. Originally made in sets of eight. Some sets have a title card, which contains credits and artwork, essentially a mini-poster. The remaining seven cards are coloured photographic credits and poster artwork showing different scenes from the movie.
WINDOW CARD
14 x 22″ printed on heavy stock paper with the top 4-6 inches usually left blank for the local cinema owner to fill in the cinema and the date it was due to play. Largely discontinued during the 1970’s.
HALF SHEET
22 x 28″ printed on heavy stock paper. The image displayed is normally a smaller version of the main poster, although some do have different artworks and sometimes come in two versions.
INSERT
14 x 36″ printed on heavy stock paper. Inserts usually have the same artwork as a one sheet. Popular with collectors since they are smaller and easier to frame. Normally come tri folded or rolled.
STYLE Y/FORTY BY SIXTY
40 x 60″ printed on heavy stock paper. Rare since they were primarily used for major motion pictures only. Designed to be used outside the theatre, on an easel, normally at a drive-in movie theatre.
ONE-SHEET
27 x 41″ printed on paper. This is the most common size of poster, intended to be displayed in a glass “marquee” case. It is the most sought after size by collectors. Since the 1980’s most posters are sent to the theatre rolled and maybe slightly smaller measuring 27″ by 40″ and with the advent of backlit light boxes a growing number of modern movie posters are available double-sided and the more traditional single-sided.
THREE-SHEET
41 x 81″ printed on paper. These were printed on two or three separate sheets designed to overlap, few survive. Used for larger advertising spaces, normally posted on walls, perfect for huge movie theatres the drive-in, where people could see them from a distance. From the 1970’s on, three-sheets were sometimes printed in one piece and issued as “international” versions to be used abroad.
BRITISH QUAD
30 x 40″ Most common poster size used in the UK. British Quads are horizontal and may have different artwork to the US one sheet. Like a US one sheet they normally come in two versions. Like a US one sheet they are usually supplied single-sided or more commonly now as a double sided poster.
BRITISH ONE-SHEET
27 X 40″, printed on paper. Very rarely used size.
ITALIAN LOCANDINA
13 x 28″ six inches shorter than the US insert, very nice size to frame. Italian poster illustrators are some of the best in the industry.
ITALIAN PHOTOBUSTA
18 x 26″ Glossy, high quality, used as lobby cards in Italy. Size may vary, either vertical or horizontal format. There are also double Photobusta or mini Photobusta.
2-FOGLIO (DUE)
(DUE): 39 x 55″ This is the standard poster size used in Italy. Italian poster illustrators are some of the best in the industry.
4-FOGLIO
(QUATTRO) 55 x 79″ Very large Italian poster printed in two pieces, often contains very beautiful artwork.
FRENCH
47 x 63″ (GRANDE) or 24 x 33″ (PETITE) French movie posters normally come with different artwork to either the US or the UK. Like the Italian’s some of the artwork is extrememly beautiful.
