As a passionate filmmaker and full-time film colorist, I have always been captivated by the power of visual storytelling. My journey in the world of cinema has been fueled by a desire to explore how visual elements can elevate a narrative. One film that has continually inspired me is Roman Polanski’s “Chinatown” (1974). Its cinematography is a masterclass in blending classic noir elements with innovative techniques of its time. In this analysis, I’ll delve into the various aspects that make “Chinatown” a timeless piece of cinema.
About the Cinematographer
At the helm of “Chinatown’s” visual storytelling is John A. Alonzo, a cinematographer whose work has left an indelible mark on the industry. Alonzo was renowned for his ability to merge realism with stylized visuals, creating images that were both grounded and artistically compelling. His background in documentaries and television brought a fresh perspective to his film work, allowing him to break away from traditional methods.
In “Chinatown,” Alonzo’s collaboration with Polanski resulted in a visual style that perfectly complemented the film’s intricate narrative. His keen eye for natural lighting and composition significantly influenced the film’s aesthetic, making it stand out in cinematic history.
Inspiration for the Cinematography of “Chinatown”
“Chinatown” draws heavily from the film noir tradition of the 1940s and 1950s. The screenplay, written by Robert Towne, was influenced by earlier noir films, and this inspiration extends to the cinematography. Alonzo incorporated elements like high-contrast lighting and deep shadows, paying homage to the golden age of Hollywood. However, instead of shooting in black and white, he utilized color to enhance the mood and themes of the film.
One aspect that particularly fascinates me is how Alonzo was influenced by artists like Edward Hopper, whose work often depicted isolated figures in urban settings. This influence is evident in the way “Chinatown” portrays Los Angeles—a character in its own right—through carefully composed shots that highlight the city’s dual nature of glamour and decay.
Camera Movements Used in “Chinatown”
The camera movements in “Chinatown” are deliberate and subtle, designed to immerse the audience in the story without drawing attention to themselves. The film frequently employs point-of-view (POV) shots and handheld camera work to bring viewers closer to the protagonist’s journey. This technique allows us to see the world through the eyes of Jake Gittes, played by Jack Nicholson.
In critical scenes, the camera remains mostly static, creating a sense of tension and unease. During confrontations, the lack of movement forces the audience to focus on the characters’ expressions and dialogue. Conversely, when Gittes is uncovering clues, the camera might slowly zoom or pan, mirroring his investigative process. This approach also mirrors the detective’s confusion and curiosity, drawing us deeper into the story.
Compositions in “Chinatown”
Compositionally, “Chinatown” excels in using framing to enhance storytelling. Alonzo often uses the rule of thirds, positioning characters off-center to create visual interest and convey a sense of imbalance or tension. One technique that stands out to me is the use of foreground elements to frame characters, such as doorways, windows, or other architectural features. This method adds depth to the shot and symbolizes entrapment or confinement, echoing the film’s themes of control and manipulation.
Alonzo also uses reflections and mirrors to great effect. These compositions suggest duplicity or hidden facets of a character’s persona, reinforcing the narrative’s complex web of deceit. The meticulous framing contributes to the film’s overall sense of unease and suspense.
Lighting Style of “Chinatown”
Lighting plays a crucial role in establishing the mood of “Chinatown.” Alonzo masterfully balanced naturalistic lighting with the dramatic chiaroscuro associated with classic noir films. Daytime scenes are often bathed in warm, golden hues, reflecting the harsh Los Angeles sun and creating a sense of realism. In contrast, nighttime scenes utilize low-key lighting, with sharp contrasts between light and shadow to heighten suspense and underscore the film’s darker themes.
The strategic placement of practical light sources—like lamps and streetlights—adds authenticity to the scenes. Shadows are used not just for aesthetic appeal but to signify the darkness lurking beneath the surface of Los Angeles. The interplay of light and shadow highlights the moral complexities of the characters and the corruption within the city’s institutions.
Lensing and Blocking of “Chinatown”
The choice of lenses and the blocking of scenes in “Chinatown” are integral to its storytelling. Alonzo predominantly used prime lenses, offering superior sharpness and clarity. This choice helped capture the intricate details of the period costumes and set designs. Wide-angle lenses were used sparingly but effectively to emphasize isolation or to capture expansive environments.
The blocking—the arrangement of actors within the frame—is meticulously planned. Characters are positioned to reflect their relationships and power dynamics. For example, characters are frequently positioned in ways that reflect their dominance or vulnerability within a scene, enhancing the narrative without the need for explicit dialogue. When Jake Gittes feels out of his depth, he’s often placed lower in the frame or surrounded by imposing structures, visually conveying his vulnerability.
Color of “Chinatown”
Color is another element that stands out in the film. Unlike the black-and-white noir films it draws inspiration from, “Chinatown” uses a muted color palette that reflects the arid Los Angeles landscape. The palette is dominated by earth tones—browns, yellows, and muted greens—that evoke the dry, sun-soaked environment of 1930s Los Angeles.
As a colorist, I appreciate how the restrained use of color grading maintains the film’s realistic aesthetic while reinforcing its themes. The subdued colors contribute to the overall mood, avoiding the distraction of vibrant hues that might detract from the narrative. The color choices also serve to highlight key plot elements, such as the presence of water, which is central to the film’s storyline.
Technical Aspects of “Chinatown”
From a technical standpoint, “Chinatown” is a remarkable achievement. The film was shot using Panavision cameras and lenses, which were state-of-the-art at the time. This equipment allowed for sharp images and the dynamic range necessary to achieve the film’s distinct visual style. The film stock used contributed to the grainy texture that enhances the period feel. The combination of 35mm film and careful processing resulted in rich contrast and a wide dynamic range.
The sound design also deserves mention, as it subtly enhances the atmosphere without drawing attention away from the visuals. The careful synchronization of technical elements like editing, sound, and cinematography results in a cohesive work that stands the test of time.
Conclusion
Analyzing the cinematography of “Chinatown,” I am struck by how each visual element works in harmony to support the film’s narrative and themes. John A. Alonzo’s work elevates the screenplay by Robert Towne, adding layers of meaning through visual storytelling. The inspirations from classic film noir are evident, yet the film establishes its own identity through innovative techniques.
The camera movements, compositions, lighting, lensing, and use of color all contribute to creating a film that is both a homage to the past and a unique piece of art in its own right. “Chinatown” remains a standout example of how cinematography can elevate storytelling. It offers invaluable lessons in blending traditional techniques with innovative approaches.
As a filmmaker and colorist, “Chinatown” continues to inspire and inform my work. It serves as a masterclass in how thoughtful cinematography can profoundly impact storytelling. Every choice made behind the camera serves a purpose, whether it’s to build tension, reveal character, or immerse the audience in a specific time and place. This film reminds me of the profound impact that visual storytelling can have on an audience, reinforcing my belief in the power of cinema.