Yep, in the screenwriting classes I’ve taken, and even in the novel workshops, Chinatown is viewed as a perfect example of a screenplay. This is despite the fact that Polanski rewrote Towne’s ending. But I can’t imagine a more fitting ending for this film. It’s damn good.

The film wasn’t about Chinatown so much as it was about L.A. Chinatown, however, was the place where the worldview of the main character was formed and that worldview defined the theme of the movie. In other words, Chinatown is where Jake Gittes’ head is at, not necessarily where the film is at.

Another way to look at it is that the film is about an event that took place in Chinatown (the final shooting) and everything that led up to it, even though most of it took place elsewhere.

Ah, thanks for the Chinatown review. I watched it two nights ago (and 20 years ago).

You know what struck me though? Chinatown was the place where mysterious things happened and where one got few answers. At least that’s what Gittis and Escobar told us. And that was sort of the theme of the movie. But why didn’t we see Chinatown until the end? Why didn’t we see some of its mysteries during the movie? I know it won the Academy Award for Best Screenplay, but I need to see some evidence, not just a couple of guys saying so. We saw orange groves, the Valley, they L.A. River, L.A., but no Chinatown—except as an afterthought. Is anybody with me on this? Anyone willing to break ranks with the film canon?

By the way, John Houston, as Noah Cross, stole the show for me. Jack is always Jack, but I forgot how good John Houston is.

Barry Levinson’s Diner is next up for me. I’m checking your Previous Posts.