A mentally unstable veteran works as a nighttime taxi driver in New York City, where the perceived decadence and sleaze fuels his urge for violent action by attempting to liberate a presidential campaign worker and an underage prostitute.
Robert De Niro,
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 ...Written by
Phillip Lambro was originally hired to write the film's music score, but it was rejected at the last minute by Producer Robert Evans, leaving Jerry Goldsmith only ten days to write and record a new score. However, when it was time to put together a trailer for the film, the studio's marketing department decided that Goldsmith's new score wasn't suitable, and asked Lambro to use cues from his original score instead. In exchange for allowing his music to be used for the trailer, Lambro asked to retain the publishing rights to his own score. Paramount Pictures agreed, on the condition that if the music was ever released commercially, Lambro could not use the title "Chinatown". An album with Lambro's original rejected score was finally released in 2012 under the title "Los Angeles, 1937". See more »
In the orange grove scene, Gittes's car has its right front tire shot and deflated, yet it is not deflated when the car hits the tree. See more »
All right, Curly. Enough's enough. You can't eat the Venetian blinds. I just had them installed on Wednesday.
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The film opens with the 1940's Paramount logo. See more »
From the first 10 minutes of the first time I saw this movie in the theatre, I've truly loved it, more any other movie I've ever seen. Why? Well, that easy, it's just so... PERFECT!
Obviously there are many other great movies, and many other movies I personally also love, but Chinatown has a real spell over me. Other fans have commented here on the story and the spellbinding way that the forlorn and utterly mysterious story unfolds. I certainly agree.
Chinatown's cinematography and editing? Yes, I agree again! IMO, it's breathtaking, with pacing so tight that I sit straight up thru the whole movie and my nerves become completely raw every time I watch, listen and FEEL it again.
I don't think anybody has commented yet on the great choice of the many supporting actors. Each one so well cast and very believable in their roles! You've got the entire cast credits list (thank you IMDb) so I won't list them here but there are so many memorable performances here! It would be unfair to highlight one, two or three! Good cops, bad cops, ugly rich, up-and-coming, downtrodden poor, the very honest and very crooked with all shades in between! Each and every role a character study in and of itself and together they make a living "time capsule" of the forties that we can revisit for generations to come.
And then there's that sound track which hooked me on great trumpet players and the Est Coast Jazz sound of the era. I just love that music and way it interweaves with the ongoing theme - it's perfectly united with the faithful and compelling use of the film-noir style.
I saw this movie first in Chicago and heck, back then I knew nothing about LA, though I've since moved to and lived in the area for years. Once relocated, I quickly discovered the historically interesting side to the story and then appreciated the movie from yet another compelling angle. No question, the plot is fundamentally sound with many totally unexpected and yet quite plausible turns. But I later understood that it's within the realm of believability from factual standpoint, as well as intellectually/emotionally.
Geez, I'll never forget that first confrontational scene at the Albacore Club! The study in absolute raw and evil power as masterly portrayed by John Huston. In the very same scene Jack Nicholson skillfully paints the subtleties of his cautious, cynical, small-time hustler character. The air crackles! I must have played this scene in my mind a thousand times. When I visited Catalina Island for the first time in about 1985, not knowing its significance to the movie, I walked by the Albacore Club (The Tuna Club in real life) and froze transfixed. I recognized it instantly of course, and I must have stood there gawking for 20 minutes not saying a word. I could literally HEAR the Chinatown theme - the memories were that clear and fresh!
In closing, I guess then what does it about Chinatown for me (why I feel so strongly that it is the very best movie of all) is that every facet of the movie construction, from the opening scene to the ending credits, somehow fits together in a homogeneous, complete and absolutely flawless way.
I find it fascinating to analyze the characters and their makeup. To imagine the reasons they did what they did. But there is NOTHING I would change. Nothing.
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