Chinatown (1974)

Film discussion

We encourage our audience to have an opinion about the films they watch. We hope they enjoy our screenings but more importantly we'd like them to articulate what they do and don't like about what they've seen.

We believe in the power of storytelling and that all the films we show have a good story to tell while maintaining a strong point of view.

On this page we'll be sharing our thoughts about the films we've screened, and we'd encourage you to add to the discussion in the comments section.

24/6/2017

Chinatown (1974)

4 Comments

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There are many elements that make Chinatown a powerful and memorable film, and they all come together so seamlessly on the widescreen.

The award winning script tells a convoluted and complex story well. Based on real events, we never fully grasp, what becomes apparent is that the bad guys will win, and... it is never a good idea for J.J. Gittes (Jack Nicholson) to go down to Chinatown.

The direction of Polanski is artful and unmistakable. Polanski feels that onscreen violence must be gut-wrenching, because that is what violence is. To suggest anything else is dishonest. And the beatings that J.J. Gittes gives and gets are just that, as is the confronting scene toward the end of the film where he slaps Evelyn (Faye Dunaway) repeatedly. And the slicing of Gittes nose (by Polanski) is one of the most powerful and memorable in cinema history.

The acting is first rate. This is perhaps Nicholson's best ever performance, ably supported by a smouldering Dunaway, a sinister John Huston, and a fantastic cast of minor characters.

A timeless cinema great.

What are your thoughts?

4 Comments

Zazen

27/6/2017 09:45:25 pm

This analysis is based on the pre-Socratic philosopher (classic period) Thales the Milesian proposition that the earth floats on water, which is in some way the source of all things, along with critical theory of late capitalism.
Chinatown as a metaphor for historical materialism. The premise being that the primordial element water as a metaphor for sex and death that is played out through class relations which runs throughout Chinatown. Consciousness in capitalist society as the supervening element is in a real and imaginative sense contingent on water that is associated with the moon: as in to 'go out and contemplate the moon' that if confronted could consume: as in 'feed it to my goldfish'.
Its from this scene that capitalist accumulation turns into a macabre fetish, that threw up instances of bourgeois irrationality with repeated intensity. The final scene is the reification of privilege and oppression which, according to this interpretation, plays out in advanced capitalist economies in a local sense, as in the microcosm of Chinatown, but with global ramifications.

carol hatton

30/6/2017 12:01:48 pm

what a great night. Loved the stylish clothes and cars of that era. Thank Mark

Helen Reichard

8/7/2017 07:10:51 am

yes, isn't Evelyn's car (I think a Packard) absolutely magnificent. and her hats - wow!

8/7/2017 07:08:14 am

What a magnificent film – so many symbols, double meanings, subtle humour, sinister themes and unpleasant racial slurs – is the viewer the real detective or is the viewer meant to be a psychologist?

Roman Polanski says that he wants the audience ‘to think about the film a little longer’.

For example, one of the many symbols/double meanings:
Noah as in Noah Cross – symbolises the great Flood when God of the Old Testament, lets the people know who’s boss – isn’t this what Noah Cross is doing?
Cross – as in Old Testament (generations of Noah) continuous to New Testament (Cross of Salvation for future generations) - “The future, Mr. Gittes! The future”
Noah Cross sees himself as above reproach ‘don’t blame myself … most people ….. capable of anything’. Does he have a point? He is able to rape his daughter, kidnap his daughter/granddaughter and also rape the valley. He walks away at the end untouched with the prize. And I don’t think we can blame Power and Corruption.

Anyone else think of other double meanings?

Film discussion

Chinatown (1974)

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Mark Enders

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