Chinatown is classified as a neo-noir, mystery film directed by Roman Polanski, the leading female Mrs Evelyn Mulwray influences the events of the film as a femme fatale starting in her first appearance after being sought out by Gillies, the private investigator hired by a Mulwray impersonator. Through the feminist lens, depiction of the neo-noir non-predictable femme fatale can be seen. I will discuss the relationship between father and daughter and how women seemed to be treated in this film and how the relationship between the men and women is portrayed.
To develop understanding about whether the depiction of a femme fatale like Evelyn Mulwray and through studying plenty of both film noirs and neo-noirs, was present in the neo-noir Chinatown,
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Evelyn creates suspense, distracting Jake and the viewers, her true intentions concealed for the most part of the film. At the end of the film however Evelyn is shown as a loving mother who just wants to do whatever she can to protect her daughter/sister, showing the gentle and motherly side of Mrs Mulwray to the audience. Evelyn is shown through most of the film as if she is the superior one who can go to anyone, such as Gitties, and get him to do a job, getting what she wants no matter the cost. Gitties doesn’t seem too interested in Evelyn sexually himself as he is the investigator of marital affairs, not wanting to take advantage of her as well as trying to intimidate Evelyn by keeping his guard up and not letting her in. Gitties keeps parts of the investigation to himself, not letting Evelyn know, showing the audience the gender views that women’s opinions are not as significant. Evelyn, not fazed by Gitties’ attempts to hide investigation details, comes out as the stronger gender, still seeming to manipulate Gitties into doing as she requires. Evelyn Mulwray is the femme fatale, completely shown in this film, she gets what she wants, no matter the cost to anyone and does not step down from her high position above Gitties until she gets what she
One striking characteristic of the 20th century was the women's movement, which brought women to the forefront in a variety of societal arenas. As women won the right to vote, achieved reproductive freedom through birth control and legalized abortion, and gained access to education and employment, Western culture began to examine its long-held views about women. However, before the women’s movement of the 20th century, women’s roles were primarily of a domestic nature. Trifles by Susan Glaspell indicates that a man’s perspective is entirely different from a woman’s. The one-act play, Trifles, is a murder mystery which examines the lives of rural, middle-aged, married, women characters through gender relationships, power between the sexes, and
Like most things captured on film for the purpose of being marketed, the richness of gangster life, with sex, money, and power in surplus, is glorified, and thus embraced by the audience. And as a rule, if something works Hollywood repeats it, ala a genre. What Scarface and Little Caesar did was ultimately create a genre assigning powerful qualities to criminals. Such sensationalism started with the newspapers who maybe added a little more color here and there to sell a few more copies, which is portrayed in Scarface’s two newspaper office scenes. Leo Braudy denounces genres as offending “our most common definition of artistic excellence” by simply following a predetermined equation of repetition of character and plot. However, Thomas Schatz argues that many variations of plot can exist within the “arena” that the rules of the genre provide.
Her motivation to hire Marlowe was only because she felt that he could help find Roger. When Marlowe had initially refused, she personally went to him and begged him to help her, she did not try to be deceptive or seductive, she just wanted to see her husband recuperate. When Marlowe eventually finds Roger and brings him to Eileen, she wants to help Roger immediately, “I must go in, Mr. Marlowe, and see if my husband needs anything” but Marlowe does not let her go freely, “I took hold of her and pulled her towards me and tilted her head back. I kissed her hard on the lips. She pulled herself away quietly and stood there looking at me.You shouldn't have done that,” she said. “That was wrong.” Contrary to a femme fatale who would initiate the action herself by using her irresistible charm, Eileen was coerced to kiss him against her will, however because the historical and cultural context did not give equal importance to what women wanted along with the chiefly male influenced audience of the genre this scene is easily overlooked when analyzing Eileen Wade as femme fatale. Similarly, when Roger has a nightmare and shoots a bullet into the ceiling, Marlowe’s makes some potent accusations, “Nuts. You meant to kill yourself. You didn't have any nightmare...You fired a shot not meant to hit anything. And your wife came running-that's what you wanted. Just pity and sympathy, pal. Nothing else.” Eileen’s first reaction is to assist and defend her husband from these allegations when she says, “That's enough! He is sick, and you know it.” followed by “How dare you.” She is infuriated and troubled with Marlowe as she finds his theory preposterous. Although Marlowe’s theory was accurate, her attitude to instantly come to
As the camera cuts away from the room where Xiao Yun’s mourners grieve in solemn silence, it returns to the skyscraper featured early in the film. The camera tilts gently upward, directing its gaze higher and higher as more of the skyscraper comes into view. The film, its exposure of proletarian suffering complete, arises from the slums and returns its gaze to the higher levels of society – to the bourgeois audience itself. Street Angel has explored the hardships of proletarian life with contagious sympathy, melodramatically criticizing the capitalism that defined 1930s Shanghai. Now, Yuan asks his audience whether it will join him in challenging the injustices engendered by this economic
Classic film noir originated after World War II. This is the time where post World War II pessimism, anxiety, and suspicion was taking the world by storm. Many films that were released in the U.S. Between 1939s and 1940s were considered propaganda films that were designed for entertainment during the Depression and World War II. During the 1930s many German and Europeans immigrated to the U.S. and helped the American film industry with powerf...
The viewer sees a private eye and beautiful client. First thought, "It’s definitely another Hollywood crime drama." On the surface, Chinatown has all the elements of a film noir: the presence of a beautiful but dangerous woman, otherwise known as the femme fatale, a gritty urban setting, compositional tension (highly contrasting light and dark colors or oblique camera angles), and themes of moral ambiguity and alienation. Chinatown, however, is different. Polanski shot Chinatown with color film, and though his colors do appear especially vivid, color film precludes the contrast intensity that black and white film offers. In addition, Evelyn is not the classic femme fatale. Though Jake mistakes her for her husband’s killer at first, Mrs. Mulwray eventually emerges as the story’s most tragic victim. Yes, Chinatown for the most part conforms to the structure of film noir, but this film departs from the general genre, creating an entirely different element in which Roman Polanksi examines not only big-money corruption and its malignant obsession with money, but also larger, more human themes such as ignorance, authority, and the pervasiveness of evil.
The two women share stories and through Ninny’s tales of her sister-in-law and “companion”, Evelyn gains the strength and confidence she needs to lose weight, stand up to her husband and take back the life she thought was so hopeless.
Evelyn is fascinated with the many stories Ninny has to tell about the people she used to know. She quickly learns the power of friendship as she hears the story of Idgie and Ruth and how their friendship shaped the rest of their lives. Evelyn also learns about courage and independence through these stories. She soon realizes she can feel good about herself and not rely on her husband for everything. Evelyn still takes care of her husband and wants to be his wife, but she realizes that her needs as an individual are just as
ChinaTown, directed by Roman Polanski, is a non-traditional hard-nosed detective film made in the 70's. The typical elements of character type are there; J.J. Gittes (a private detective in LA) played by Jack Nicholson is the central character, sharing the spotlight is Fay Dunaway playing the femme fatale Evelyn Mulwray. This film breaks all types of norms when compared to the hard-nosed detective films it is modeled after. The film is filled with allusions to the Big Sleep, especially taken from scenes of Marlowe and Vivian. Chinatown has formal elements indicative that it is going to be in the style of traditional Film Noir hardboiled detective, until you examine the characters' personalities next to the story content.
...e relationship with men, as nothing but tools she can sharpen and destroy, lives through lust and an uncanny ability to blend into any social class makes her unique. Her character is proven as an unreliable narrator as she exaggerates parts of the story and tries to explain that she is in fact not guilty of being a mistress, but a person caught in a crossfire between two others.
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.
The director Antoine Fuqua vision for this film was to bring that intense love-hate relationship onto the big screen and showcase it for the world to see. To ensure a convincing film setting, Fuqua shot on location in some of the most hardcore neighborhoods in Los Angeles. Fuqua also wanted to show the daily struggles of officers tasked to work in the rougher neighborhoods of cities and how easy it can be to get caught up in a street life filled with killers and drug dealers. Overall the film displayed the city of Los Angeles in a different perspective. One which m...
Bob Fosse’s dazzling adaptation of the plot is a key element that contributed greatly in making Chicago achieve the success it did. Set in the 1920’s, Chicago is based in the real-life murders trials of two women who were eventually exonerated of their alleged crimes. The film’s main characters are Roxie Hart, a housewife who often fantasizes about becoming a Vaudeville star, and Velma Kelly, a vaudeville queen b who desires far more fame than she already has. They both find themselves in the Cook County Jail on “murderesses row”. Crime and short-lived fame are the central themes of this movie. Murder and lies are sensationalized and glorified. It is no surprise that p...
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.
Also, the film revealed women empowerment and how superior they can be compared to men. While demonstrating sexual objectification, empowerment, there was also sexual exploitation of the women, shown through the film. Throughout this essay, gender based issues that were associated with the film character will be demonstrated while connecting to the real world and popular culture.