Chinatown is a 1974 American neo-noirmystery film, directed by Roman Polanski from a screenplay by Robert Towne, starring Jack Nicholson and Faye Dunaway. The film was inspired by the California Water Wars, a series of disputes over southern California water at the beginning of the 20th century, by which Los Angeles interests secured water rights in the Owens Valley. The Robert Evans production, a Paramount Pictures release, was the director's last film in the United States and features many elements of film noir, particularly a multi-layered story that is part mystery and part psychological drama. In 1991, the film was selected by the Library of Congress for preservation in the United States National Film Registry for films that are "culturally, …show more content…
Before he can question him, Lieutenant Lou Escobar fishes Mulwray, drowned, from a freshwater reservoir. Under retainer to Mrs. Mulwray, Gittes investigates his suspicions of murder and notices that, although huge quantities of water are released from the reservoir every night, the land is almost dry. Gittes is warned off by Water Department Security Chief Claude Mulvihill and a henchman, who slashes Gittes's nose. Back at his office, Gittes receives a call from Ida Sessions, who identifies herself as the imposter Mrs. Mulwray. She is afraid to identify her employer, but tells Gittes to check the day's …show more content…
He discovers that a former retirement home resident is one of the valley's new landowners, and seemingly purchased the property a week after his death. Evelyn and Gittes bluff their way into the home and confirm that the real estate deals are surreptitiously completed in the names of its residents. After fleeing Mulvihill and his thugs, Gittes and Evelyn hide at Evelyn's house and sleep together. Early in the morning, Evelyn has to leave suddenly; she warns Gittes that her father is dangerous. Gittes follows her car to a house, where he spies her through the windows comforting Mulwray's mistress. He accuses Evelyn of holding the woman against her will, but she confesses that she is her sister. The next day, an anonymous call draws Gittes to Ida Sessions’ apartment; he finds her murdered and Escobar waiting for his arrival. Escobar tells him the coroner's report found salt water in Mulwray's lungs, indicating that he did not drown in the freshwater reservoir. Escobar suspects Evelyn of the murder and tells Gittes to produce her quickly. At Evelyn's mansion, Gittes finds her servants packing her things. He realizes her garden pond is salt water and discovers a pair of bifocals in it. He confronts Evelyn about her "sister"; after Gittes slaps her, she admits that the woman, Katherine, is her sister and her daughter: her father
He does not appear as he used to; mentally and physically. He then realizes that Roderick has a twin sister named Madeline who has fallen ill. Roderick confesses that this illness is hereditary in the Usher family and that there is no cure. As days pass, Roderick’s sanity is questionable; he hears voices, hallucinates, and buries his sister alive. Madeline then escapes from the tomb and collides with Roderick only to fall and both die.
On the surface, Chinatown is a film about the political corruption surrounding the conflict over water rights in Southern California in the early 20th century. But really, it is a film that gives the audience a bleak and pessimistic view of humanity as it sheds light on the deep moral bankruptcy of which humans are capable. The opening scene of Chinatown gives the audience a taste of the human immorality to come and also hints at some key themes that continue throughout the film.
It’s a dark and rainy night. Our hero is hiding behind a wall with a revolver in hand. A crack of light, illuminates half of his face. He’s shaking nervously because he only has one bullet left. He turns the corner, and a sudden gunshot hits our hero. Who shot him? None other than his partner, who’s secretly in love with the very same dame that our hero fell for. You can consider this an example of a classic film noir ending. Film noir is a term used in cinema to describe a visually styled crime drama. Where did it come from? What are the key elements in a film noir? Why did this kind of cinema emerge when it did? What affect did it have in the film world? And finally, where is film noir now?
This classic move focuses on a single night in the early Sixties, the hopeful future of the main characters is followed by the events which occur. Steve (Ron Howard), and Curt (Richard Dreyfuss) will be leaving for college the very next day, the build up of years of hard work. Finally they'll be able to leave their small hometown and "spread their wings", experiencing life in ways they never have. Curt is unattached to anyone, but Steve will be leaving behind his longtime girlfriend Laurie (Cindy Williams), who happens to be Curt's sister. Also remaining at home are Terry (Charles Martin Smith), a fumbling nerd, and John (Paul Le Mat), an older kid with "the fastest car in the valley". The two main things that kid's focused on in 1962, it was cars and music. Everyone who's anyone cruises the strip in their shiny automobiles and while they're doing that they're listening to Wolfman Jack on the radio. Music is an integral part of this group, defining its moods, fears, desires and feeding from the same emotions.
The genre film noir has some classical elements that make these films easily identifiable. These elements are displayed in the prototypical film noir, Billy Wilder’s Double Indemnity. These elements include being filmed in black and white, a morally ambiguous protagonist, and a prominent darkness. However, the most striking part of a film noir is the femme fatale, a woman who craves independence through sexual and economic liberation. In his film, Chinatown, Roman Polanski uses many of the classic elements of a film noir, however he twists many of them to reflect the time period. This is particularly evident in his depiction of his “femme fatale,” Evelyn Mulwray.
So the Yankees were after the master and he didn’t want the Yankees to get the chest of gold and wealth that he smuggled from them, so what the master did was he took Big Liz, a shovel, the chest full of gold and a tree sapling. The master and Big Liz were on their way to the swamp that is still to this day in Dorchester County. They walked the great muddy and dangerous waters of Briar swamp. Big Liz and the master found a spot and big enough for Big Liz.Big Liz was instructed to dig a hole to bury the chest filled with gold and with her in it as well. When Big Liz was almost to the point where her head was below ground, the master then said to Big Liz “you traitor” then chopped her head off. Big Liz’s master buried the wealth and big Liz so that no one would find her or the wealth from the north or the Yankees, then the master put a sapling over the wealth on the same location so that he could find it later as he was leaving the master felt a strange feeling that he was being watched, so an ease strange light mist came out of the swamp and the master
The quest for identity quickly finds its place in the construction of the notion of ‘Hong Kong-ness’ in films. The local cinema has remained as a powerful cultural institution, both reflecting and intervening in the discourses of alterities and selfhood. It is therefore not surprising that in local films, the cinematic representations of Hong Kong have been seen as inextricably interwoven with the triangular relationship between the British coloniser, the Chinese motherland, and Hong Kong itself. Since its inception in the 1910s, the Hong Kong film industry has enjoyed much independence from colonial control, yet simultaneously much association with Western culture. Many films openly deal with the theme of ‘East meets West’ in which ‘Hong Kongese’ identity is often expressed in "transnational settings" against the existence of a Western Other, in particular through the portrayal of Westerners visiting Asia, and vice versa. After the handover, "Hong Kong" as a geopolitical en...
It has always been a quest for individuals to achieve fame and success. In this day and age a community exists where many people have this intent to achieve this desire for attention and wealth. Hollywood can be interpreted as this mindset and life style. For those who succeed in this community of publicity seekers, include the usual benefits of success, wealth, power, influence and fame. But for the majority of people in Hollywood their quest for the luxuries of fame go awry. Hollywood to put plainly is a vulgar cut throat business, it is a dog eat dog world out there in Hollywood. For those who do not achieve their quest to be in the lime light, they often used, stabbed in the back and theoretically cast away in a dark rainy alley, like bag of garbage or a typical film-noire hero. Sunset Boulevard is a satisfyingly humorous film-noire film about the inner workings of the vicious “jungle”, that one would know of as Hollywood. It was perhaps the purposely over acted antics of antagonist Norma Desmond (Gloria Swanson), that makes Billy Wilder’s black comedy so memorable. Sunset Boulevard fits the definition of film-noire thanks to Wilder’s use of the typical film-noire style characters, the all too familiar storyline and Wilder’s visual style of the film itself.
The film West Side takes place in New York City where a Polish- American gang, referred to as the Jets, competes against a Puerto Rican gang, the Sharks, to own the neighborhood streets. The central theme of this film is passionate love that defies friendships, family and other factors. To add to that, the dominating genre of the film is a musical involving drama and romance.
Polanski: Thematic and Stylistic Day after day, we exist in society without without realizing its corruption. We are blinded by the American dream. That thing that’s been promised to every person that manages to come to the west, but they still haven’t obtained it. It’s smoke and mirrors in it’s purest form and Polanski decides to tear that shit down. Roman Polanski introduces Neo-Noir through his 1974 film Chinatown.
Polanski's scheme in Chinatown, ultimately, is about defilement in the political aspect during a scandal in which a Water Department was greatly involved in Los Angeles during the 1930s. Nonetheless, his genuinely real seeming film concerns this defilement, so profound and broad as to be fatal. In addition for all its obvious interest, is at last so cynical, and truly skeptical; his overall lesson in this film (despite the fact that Polanski uncovered the debasement of sexual and free enterprise), does not offer even the slightest bit of a political option. At this point, everything (physical for example) completely shifts in this world. Polanski's ability as far as the end goal even with the extensive length of the film is that he can nearly
Essay on Apocalypse Now War is not a new phenomenon. We have experienced war for decades, actually centuries. War is violent, emotional and hit with many people, also many years after - Soldiers, family, friends and people far out in the future. In the movie “Apocalypse Now” from 1979 we see the soldiers' position in the Vietnam War.
Films that are classified as being in the film noir genre all share some basic characteristics. There is generally a voice-over throughout the film in order to guide the audience's perceptions. These movies also involve a crime and a detective who is trying to figure out the truth in the situation. This detective usually encounters a femme fatale who seduces him. However, the most distinctive feature of the film noir genre is the abundance of darkness.
While there are many different ways to classify a Neo-noir film, Roman Polanski’s, Chinatown captures many. The 1974 movie consists of many of these elements, including both thematic and stylistic devices. One of the main themes of neo-noir film that is constant throughout the film is the deceptive plot that questions the viewers’ ideas and perceptions of what is actually happening in the film. Every scene of Chinatown leads to a twist or another turn that challenges the practicability of the film’s reality. All of the never-ending surprises and revelations lead up to the significant themes the movie is trying to convey in the conclusion of the film.
American History X (1998) illustrates how segregation is aggravated by missing father figures as well as the herd mentality of the characters in the film. German philosopher Friedrich Nietzsche’s concept of the herd mentality states that people need a concept or a worldview to adopt in order to give meaning to their lives. This herding of people who choose to adopt this certain ideal or ideals in effect causes the stifling of individual thoughts or creativity because everyone chooses to think a certain way (Floyd). This mindset that people are attracted to is not always chosen or forced but is rather seen as an obligation because of loyalties certain people have to others.