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Robert Towne, Oscar-winning writer of 'Chinatown,' dies at 89

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Robert Towne, Oscar-winning writer of 'Chinatown,' dies at 89

Screenwriter Robert Towne poses at The Regency Hotel in New York on March 7, 2006.

Jim Cooper/AP


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Jim Cooper/AP

NEW YORK — Robert Towne, the Oscar-winning screenplay writer of Shampoo, The Last Detail and other films, whose script for Chinatown became a model of the art form and helped define the jaded allure of his native Los Angeles, has died. He was 89.

Towne died Monday surrounded by family at his home in Los Angeles, said publicist Carri McClure. She declined to comment on any cause of death.

In an industry which gave birth to rueful jokes about the writer’s status, Towne for a time held prestige comparable to the actors and directors he worked with. Through his friendships with two of the biggest stars of the 1960s and ’70s, Warren Beatty and Jack Nicholson, he wrote or co-wrote some of the signature films of an era when artists held an unusual level of creative control.

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The rare “auteur” among screen writers, Towne managed to bring a highly personal and influential vision of Los Angeles onto the screen.

“It’s a city that’s so illusory,” Towne told The Associated Press in a 2006 interview. “It’s the westernmost west of America. It’s a sort of place of last resort. It’s a place where, in a word, people go to make their dreams come true. And they’re forever disappointed.”

Recognizable around Hollywood for his high forehead and full beard, Towne won an Academy Award for Chinatown and was nominated three other times, for The Last Detail, Shampoo and Greystoke. In 1997, he received a lifetime achievement award from the Writers Guild of America.

“His life, like the characters he created, was incisive, iconoclastic and entirely (original),” said Shampoo actor Lee Grant on X.

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Towne’s success came after a long stretch of working in television, including The Man from U.N.C.L.E and The Lloyd Bridges Show, and on low-budget movies for “B” producer Roger Corman. In a classic show business story, he owed his breakthrough in part to his psychiatrist, through whom he met Beatty, a fellow patient. As Beatty worked on Bonnie and Clyde, he brought in Towne for revisions of the Robert Benton-David Newman script and had him on the set while the movie was filmed in Texas.

Towne’s contributions were uncredited for Bonnie and Clyde, the landmark crime film released in 1967, and for years he was a favorite ghost writer. He helped out on The Godfather, The Parallax View and Heaven Can Wait among others, and referred to himself as a “relief pitcher who could come in for an inning, not pitch the whole game.”

But Towne was credited by name for Nicholson’s macho The Last Detail and Beatty’s sex comedy Shampoo and was immortalized by Chinatown, the 1974 thriller set during the Great Depression.

Chinatown was directed by Roman Polanski and starred Nicholson as J.J. “Jake” Gittes, a private detective asked to follow the husband of Evelyn Mulwray (played by Faye Dunaway). The husband is chief engineer of the Los Angeles Department of Water and Power and Gittes finds himself caught in a chaotic spiral of corruption and violence, embodied by Evelyn’s ruthless father, Noah Cross (John Huston).

Influenced by the fiction of Raymond Chandler, Towne resurrected the menace and mood of a classic Los Angeles film noir, but cast Gittes’ labyrinthine odyssey across a grander and more insidious portrait of Southern California. Clues accumulate into a timeless detective tale, and lead helplessly to tragedy, summed up by the one of the most repeated lines in movie history, words of grim fatalism a devastated Gittes receives from his partner Lawrence Walsh (Joe Mantell): “Forget it, Jake, it’s Chinatown.”

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Towne’s script has been a staple of film writing classes ever since, although it also serves as a lesson in how movies often get made and in the risks of crediting any film to a single viewpoint. He would acknowledge working closely with Polanski as they revised and tightened the story and arguing fiercely with the director over the film’s despairing ending — an ending Polanski pushed for and Towne later agreed was the right choice. (No one has officially been credited for writing “Forget it, Jake, it’s Chinatown”).

But the concept began with Towne, who had turned down the chance to adapt The Great Gatsby for the screen so he could work on Chinatown, partly inspired by a book published in 1946, Carey McWilliams’ Southern California: An Island on the Land.

“In it was a chapter called ‘Water, water, water,’ which was a revelation to me. And I thought, ‘Why not do a picture about a crime that’s right out in front of everybody?,’ ” he told The Hollywood Reporter in 2009.

“Instead of a jewel-encrusted falcon, make it something as prevalent as water faucets, and make a conspiracy out of that. And after reading about what they were doing, dumping water and starving the farmers out of their land, I realized the visual and dramatic possibilities were enormous.”

The back story of Chinatown has itself become a kind of detective story, explored in producer Robert Evans’ memoir, The Kid Stays in the Picture; in Peter Biskind’s East Riders, Raging Bulls, a history of 1960s-1970s Hollywood, and in Sam Wasson’s The Big Goodbye, dedicated entirely to Chinatown. In The Big Goodbye, published in 2020, Wasson alleged that Towne was helped extensively by a ghost writer — former college roommate Edward Taylor. According to The Big Goodbye, for which Towne declined to be interviewed, Taylor did not ask for credit on the film because his “friendship with Robert” mattered more.

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Wasson also wrote that the movie’s famous closing line originated with a vice cop who had told Towne that crimes in Chinatown were seldom prosecuted.

“Robert Towne once said that Chinatown is a state of mind,” Wasson wrote. “Not just a place on the map in Los Angeles, but a condition of total awareness almost indistinguishable from blindness. Dreaming you’re in paradise and waking up in the dark — that’s Chinatown. Thinking you’ve got it figured out and realizing you’re dead — that’s Chinatown.”

The studios assumed more power after the mid-1970s and Towne’s standing declined. His own efforts at directing, including Personal Best and Tequila Sunrise, had mixed results. The Two Jakes, the long-awaited sequel to Chinatown, was a commercial and critical disappointment when released in 1990 and led to a temporary estrangement between Towne and Nicholson.

Towne’s greatest regret, he said in the 2006 AP interview, was how Greystoke turned out. Towne wrote the adaptation of Edgar Rice Burroughs’ novel Tarzan of the Apes and wanted to direct it. But production troubles on Personal Best bled into his hopes for Greystoke. Hugh Hudson, instead, directed the 1984 film. And while Greystoke received three Oscar nominations, including for Towne’s script, he was unhappy with the result. Towne took the name of his dog, P.H. Vazak, for his screenwriting credit, making Vazak an unlikely Oscar nominee.

Around the same time, he agreed to work on a movie far removed from the art-house aspirations of the ’70s, the Don Simpson-Jerry Bruckheimer production Days of Thunder, starring Tom Cruise as a race car driver and Robert Duvall as his crew chief. The 1990 movie was famously over budget and mostly panned, although its admirers include Quentin Tarantino and countless racing fans. And Towne’s script popularized an expression used by Duvall after Cruise complains another car slammed him: “He didn’t slam into you, he didn’t bump you, he didn’t nudge you. He rubbed you.

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“And rubbin,’ son, is racin.’”

Towne later worked with Cruise on The Firm and the first two Mission: Impossible movies. His most recent film was Ask the Dust, a Los Angeles story he wrote and directed that came out in 2006. Towne was married twice, the second time to Luisa Gaule, and had two children. His brother, Roger Towne, also wrote screenplays, his credits including The Natural.

Towne was born Robert Bertram Schwartz in Los Angeles and moved to San Pedro after his father’s business, a dress shop, closed down because of the Great Depression. (His father changed the family name to Towne). He had always loved to write and was inspired to work in movies by the proximity of the Warner Bros. Theater and from reading the critic James Agee. For a time, Towne worked on a tuna boat and would speak often of its impact.

“I’ve identified fishing with writing in my mind to the extent that each script is like a trip that you’re taking — and you are fishing,” he told the Writers Guild Association in 2013. “Sometimes they both involve an act of faith. … Sometimes it’s sheer faith alone that sustains you, because you think, ‘God damn it, nothing — not a bite today. Nothing is happening.’ “

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Why men should really be reading more fiction

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Why men should really be reading more fiction

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A friend sent a meme to a group chat last week that, like many internet memes before it, managed to implant itself deep into my brain and capture an idea in a way that more sophisticated, expansive prose does not always manage. Somewhat ironically, the meme was about the ills of the internet. 

“People in 1999 using the internet as an escape from reality,” the text read, over an often-used image from a TV series of a face looking out of a car window. Below it was another face looking out of a different car window overlaid with the text: “People in 2026 using reality as an escape from the internet.” 

Oof. So simple, yet so spot on. With AI-generated slop — sorry, content — now having overtaken human-generated words and images online, with social media use appearing to have peaked and with “dumb phones” being touted as this year’s status symbol, it does feel as if the tide is beginning to turn towards the general de-enshittification of life. 

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And what could be a better way to resist the ever-swelling stream of mediocrity and nonsense on the internet, and to stick it to the avaricious behemoths of the “attention economy”, than to pick up a work of fiction (ideally not purchased on one of these behemoths’ platforms), with no goal other than sheer pleasure and the enrichment of our lives? But while the tide might have started to turn, we don’t seem to have quite got there yet on the reading front, if we are on our way there at all.

Two-fifths of Britons said last year that they had not read a single book in the previous 12 months, according to YouGov. And, as has been noted many times before on both sides of the Atlantic, it is men who are reading the least — just 53 per cent had read any book over the previous year, compared with 66 per cent of women — both in overall numbers and specifically when it comes to fiction.

Yet pointing this out, and lamenting the “disappearance of literary men”, has become somewhat contentious. A much-discussed Vox article last year asked: “Are men’s reading habits truly a national crisis?” suggesting that they were not and pointing out that women only read an average of seven minutes more fiction per day than men (while failing to note that this itself represents almost 60 per cent more reading time).

Meanwhile an UnHerd op-ed last year argued that “the literary man is not dead”, positing that there exists a subculture of male literature enthusiasts keeping the archetype alive and claiming that “podcasts are the new salons”. 

That’s all well and good, but the truth is that there is a gender gap between men and women when it comes to reading and engaging specifically with fiction, and it’s growing.

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According to a 2022 survey by the US National Endowment for the Arts, 27.7 per cent of men had read a short story or novel over the previous year, down from 35.1 per cent a decade earlier. Women’s fiction-reading habits declined too, but more slowly and from a higher base: 54.6 per cent to 46.9 per cent, meaning that while women out-read men by 55 per cent in 2012 when it came to fiction, they did so by almost 70 per cent in 2022.

The divide is already apparent in young adulthood, and it has widened too: data from 2025 showed girls in England took an A-Level in English literature at an almost four-times-higher rate than boys, with that gap having grown from a rate of about three times higher just eight years earlier.

So the next question is: should we care and, if so, why? Those who argue that yes, we should, tend to give a few reasons. They point out that reading fiction fosters critical thinking, empathy and improves “emotional vocabulary”. They argue that novels often contain heroic figures and strong, virtuous representations of masculinity that can inspire and motivate modern men. They cite Andrew Tate, the titan of male toxicity, who once said that “reading books is for losers who are afraid to learn from life”, and that “books are a total waste of time”, as an example of whose advice not to follow. 

I agree with all of this — wholeheartedly, I might add. But I’m not sure how many of us, women or men, are picking up books in order to become more virtuous people. Perhaps the more compelling, or at least motivating, reason for reading fiction is simply that it offers a form of pleasure and attention that the modern world is steadily eroding. In a hyper-capitalist culture optimised for skimming and distraction, the ability to sit still with a novel is both subversive and truly gratifying. The real question, then, is why so many men are not picking one up.

jemima.kelly@ft.com

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Slow-moving prisoner releases in Venezuela enter 3rd day after government announces goodwill effort

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Slow-moving prisoner releases in Venezuela enter 3rd day after government announces goodwill effort

SAN FRANCISCO DE YARE, Venezuela — As Diógenes Angulo was freed Saturday from a Venezuelan prison after a year and five months, he, his mother and his aunt trembled and struggled for words. Nearby, at least a dozen other families hoped for similar reunions.

Angulo’s release came on the third day that families had gathered outside prisons in the capital, Caracas, and other communities hoping to see loved ones walk out after Venezuela ’s government pledged to free what it described as a significant number of prisoners. Members of Venezuela’s political opposition, activists, journalists and soldiers were among the detainees that families hoped would be released.

Angulo was detained two days before the 2024 presidential election after he posted a video of an opposition demonstration in Barinas, the home state of the late President Hugo Chávez. He was 17 at the time.

“Thank God, I’m going to enjoy my family again,” he told The Associated Press, adding that others still detained “are well” and have high hopes of being released soon. His faith, he said, gave him the strength to keep going during his detention.

Minutes after he was freed, the now 19-year-old learned that former President Nicolás Maduro had been captured by U.S. forces Jan. 3 in a nighttime raid in Caracas.

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The government has not identified or offered a count of the prisoners being considered for release, leaving rights groups scouring for hints of information and families to watch the hours tick by with no word.

President Donald Trump has hailed the release and said it came at Washington’s request.

On Thursday, Venezuela ’s government pledged to free what it said would be a significant number of prisoners. But as of Saturday, fewer than 20 people had been released, according to Foro Penal, an advocacy group for prisoners based in Caracas. Eight hundred and nine remained imprisoned, the group said.

A relative of activist Rocío San Miguel, one of the first to be released and who relocated to Spain, said in a statement that her release “is not full freedom, but rather a precautionary measure substituting deprivation of liberty.”

Among the prominent members of the country’s political opposition who were detained after the 2024 presidential elections and remain in prison are former lawmaker Freddy Superlano, former governor Juan Pablo Guanipa, and Perkins Rocha, lawyer for opposition leader María Corina Machado. The son-in-law of opposition presidential candidate Edmundo González also remains imprisoned.

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One week after the U.S. military intervention in Caracas, Venezuelans aligned with the government marched in several cities across the country demanding the return of Maduro and his wife Cilia Flores. The pair were captured and transferred to the United States, where they face charges including conspiracy to commit narco-terrorism.

Hundreds demonstrated in cities including Caracas, Trujillo, Nueva Esparta and Miranda, many waving Venezuelan flags. In Caracas, crowds chanted: “Maduro, keep on going, the people are rising.”

Acting president Delcy Rodríguez, speaking at a public social-sector event in Caracas, again condemned the U.S. military action on Saturday.

“There is a government, that of President Nicolás Maduro, and I have the responsibility to take charge while his kidnapping lasts … . We will not stop condemning the criminal aggression,” she said, referring to Maduro’s ousting.

On Saturday, Trump said on social media: “I love the Venezuelan people and I am already making Venezuela prosperous and safe again.”

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After the shocking military action that overthrew Maduro, Trump stated that the United States would govern the South American country and requested access to oil resources, which he promised to use “to benefit the people” of both countries.

Venezuela and the United States announced Friday that they are evaluating the restoration of diplomatic relations, broken since 2019, and the reopening of their respective diplomatic missions. A mission from Trump’s administration arrived in the South American country on Friday, the State Department said.

Venezuelan Foreign Minister Yván Gil responded to Pope Leo XIV, who on Friday called for maintaining peace and “respecting the will of the Venezuelan people.”

“With respect for the Holy Father and his spiritual authority, Venezuela reaffirms that it is a country that builds, works, and defends its sovereignty with peace and dignity,” Gil said on his Telegram account, inviting the pontiff “to get to know this reality more closely.”

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Video: Raising a Baby in Altadena’s Ashes

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Video: Raising a Baby in Altadena’s Ashes

“So, my daughter, Robin, was born Jan. 5, 2025.” “Hi, baby. That’s you.” “When I first saw her, I was like, ‘Oh my God, she’s here.’” “She was crying and immediately when she was up on my face, she stopped crying.” “I got the room with the view.” “But it wasn’t until way later, I saw a fire near the Pasadena Mountains.” “We’re watching the news on the TV, hoping that it’s just not going to reach our house.” “The Eaton fire has scorched over 13,000 acres.” “Sixteen people confirmed dead.” “More than 1,000 structures have been destroyed.” “And then that’s when we got the call. Liz’s mom crying, saying the house is on fire.” “Oh, please. No, Dios mio. Go back. Don’t go that way. It’s closed. Go, turn. Turn back.” “Our house is burning, Veli.” “Oh my God.” “It was just surreal. Like, I couldn’t believe it.” “There’s nothing left.” “Not only our house is gone, the neighbors’ houses are gone, her grandma’s house is gone. All you could see was ash.” “My family has lived in Altadena for about 40 years. It was so quiet. There’s no freeways. My grandmother was across the street from us. All our family would have Christmas there, Thanksgivings. She had her nopales in the back. She would always just go out and cut them down and make salads out of them. My grandmother is definitely the matriarch of our family. My parents, our house was across the street. And then me and Javi got married right after high school.” “My husband’s getting me a cookie.” “Me and Javi had talked a lot about having kids in the future. Finally, after 15 years of being married, we were in a good place. It was so exciting to find out that we were pregnant. We remodeled our whole house. We were really preparing. My grandmother and my mom, they were like, crying, and they were like, so excited.” “Liz!” “I had this vision for her, of how she would grow up, the experiences maybe she would have experiencing my grandmother’s house as it was. We wanted her to have her childhood here. But all of our preparation went out the window in the matter of a few hours.” “And we’re like, ‘What do we do?’ And then we get a phone call. And it was Liz’s uncle. He was like, ‘Hey, come to my house. We have a room ready for you.’” “In my more immediate family, nine people lost their homes, so it was about 13 people in the house at any given point for the first three months of the fire. It was a really hard time. We had to figure out insurance claim forms, finding a new place to live, the cost of rebuilding — will we be able to afford it? Oh my gosh, we must have looked at 10 rentals. The experience of motherhood that I was hoping to have was completely different. Survival mode is not how I wanted to start. “Hi, Robin.” “Robin — she was really stressed out. “She’s over it.” “Our stress was radiating towards Robin. I feel like she could feel that.” “There was just no place to lay her safely, where she could be free and not stepped over by a dog or something. So she was having issues gaining strength. So she did have to go to physical therapy for a few months to be able to lift her head.” “One more, one more — you can do it.” “All the stress and the pain, it was just too much.” “Then Liz got really sick.” “I didn’t stop throwing up for five hours. Javi immediately took me to the E.R. They did a bunch of tests and figured out it was vertigo, likely stress-induced. It felt like, OK, something has to slow down. I can’t just handle all of it myself all the time. My mom is so amazing and my grandmother, they really took care of us in a really wonderful way. So — yeah.” “We’ve been able to get back on our feet. “Good high-five.” “I think it has changed how I parent. I’m trying to shed what I thought it would be like, and be open to what’s new. Robin is doing much better. She’s like standing now and trying to talk. She says like five words already. Even if it’s not exactly home for Robin, I wanted to have those smells around. You walk in and it smells like home. For us, it’s definitely tamales. My grandmother’s house is not being rebuilt. I can tell she’s so sad. “Let me just grab a piece of this.” “So right now, where Javi’s standing is the front. One bedroom there, here in the middle, and Robin’s bedroom in the corner. My grandma will live with us versus across the street, which is silver linings. Yeah, and we did make space for a garden for her.” “What are you seeing? What do you think? What do you think, Robin?” “The roots of Altadena — even though they’re charred — they’re going to be stronger than before.” “How strong you can be when something like this happens, I think is something that’s really important for her to take on. And that I hope Altadena also takes on.”

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