Friday, May 24, 2013
We see through Jake's eyes
One thing that I noticed quite often throughout Chinatown is how the there seem to be a lot of shots through the point of view of Gettis. Early on, there are quite a few scenes where the camera is directly over the shoulder of Gettis, and some where we literally are seeing what Gettis is seeing, pov style. I think this also could be thrown in to the conversation we had last night about a lot of focus being on eyes. I think we, as the audience, are supposed to feel as if we are solving this case as if we were Jake. I read that there was originally supposed to be a voice over, but Polanski decided he wanted the audience to find the clues as Jake does. I think seeing through his eyes is another way of having the audience see what Gettis is seeing, and finding the clues as Gettis finds the clues.
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Good observation. Detective noirs usually employ this pattern of following the lead P.I. as he pursues the focal mystery and we learn about it as he does. MF, for instance, works the same way.
ReplyDeleteWith Double Indemnity the voice over worked and it actually helped create suspense. I feel like if something similar had been done with Chinatown it would take away from the suspense. Possibly the best thing about this film is how it builds and builds, adding layers on layers, until the ending climax.
ReplyDeleteI think with Double Indemnity the voice over was a key point in the structure of the story and did create suspense.
DeleteWith Chinatown, the use of the camera instead of a voiceover is really interesting. I think you're right. The camera creates the suspense and also allows us to get Jake's pov much like the voiceover did for us with Walter. I think it sort of helps in blinding us to what's really going on with the other characters, too.
It would definitely complicate things, or change the presentation. In Out of the Past we have the classic voice-over narration and flashback structure typical of noir, yet we remain uncertain of the outcome.
DeleteVery good observation. Looking at it this way, I am glad it is Jake's eyes we are seeing through, as he has a better sense of morality about him than the other characters. It's nice to have reliable leads and narrators from the films we've seen in class thus far, but I would be curious to see a noir film that is told from a completely unreliable narrator, as a nice twist.
ReplyDelete-Aaron Swaidner
Maybe not surprisingly (given the tendency of noir and its predilection for voice-over), an earlier version of the script had Jake narrating his search.
ReplyDeleteI payed a good amount of attention to the camerawork and editing because that's what my panel was about and what I've been doing the past six months.
ReplyDeleteThe POV shots really helped us get in on the action, we really feel like we are having to sneak around and hide from Hollis.
I also tried keeping track of the handheld camera work because I read that was what Alonzo, the cinematographer, was good at. I was surprised to see that some of the longer and 'more important' shots were done handheld, while some of the smaller shots used steadying devices. For example, the first shot in the Mulwray yard where Jake meets Evelyn was one long take and done entirely handheld. The cameraman followed Jake around the yard and to the table. The shot was smooth enough for most to probably not notice the shaking.
Having good handheld work allowed for longer time before cuts, something O'Steen the editor was known for as well. It looks like Alonzo and O'Steen's talents complemented each other.
I thought the handheld shots at the end of the film added to the stark devastation in the documentarian feel it lent to the scene.
ReplyDeleteI like movies from the main characters POV, but I also always like the narrative too. I like knowing what the main protagonist is thinking and deliberating over in his head. I feel it gives more meaning and intrigue to what is happening. Books are always better in that way. Most movies feel like there are so many gaps in the story because we don't fully understand the story or the main character til later in the movie; if ever.
ReplyDelete