Private eye Jake Gittes lives off of the murky moral climate of sunbaked, pre-World War II Southern California. Hired by a beautiful socialite to investigate her husband's extra-marital affair, Gittes is swept into a maelstrom of double dealings and deadly deceits, uncovering a web of personal and political scandals that come crashing together.
Private eye Jake Gittes lives off of the murky moral climate of sunbaked, pre-World War II Southern California. Hired by a beautiful socialite to investigate her husband's extra-marital affair, Gittes is swept into a maelstrom of double dealings and deadly deceits, uncovering a web of personal and political scandals that come crashing together.
The film's central thesis is a bleak indictment of unchecked elite power and systemic corruption, particularly concerning the exploitation of public resources, which aligns with left-leaning critiques of power structures. Its pessimistic conclusion underscores the futility of individual efforts against entrenched evil.
The film features a predominantly white cast, consistent with its historical setting and the filmmaking practices of its time, without any intentional race or gender-swapped roles. Its narrative explores themes of corruption and power through its characters, but it does not explicitly critique traditional identities in a DEI-focused manner.
Chinatown does not feature any identifiable LGBTQ+ characters or themes. The narrative centers on a private detective's investigation into murder, corruption, and a dark family secret involving incest, with no elements related to queer identity.
The movie does not contain any action or adventure elements.
Chinatown is an original screenplay, not an adaptation of prior source material or a historical account. All characters were created for this film, meaning there is no pre-existing canon or historical record to establish a different gender for any character.
Chinatown is an original screenplay, not an adaptation of existing material or a biopic. Its characters were created for this film, meaning there are no prior canonical or historical racial depictions to compare against for a race swap.
Combines user and critic ratings from four sources