A sequel,The Two Jakes, was released in 1990, with Nicholson reprising his role and directing. Towne returned as screenwriter, but the film received mixed reviews and failed to replicate the success of its predecessor.
In 1930sLos Angeles, a woman identifying herself as Evelyn Mulwray hires private investigator J. J. "Jake" Gittes to trail her husband, Hollis, the chief engineer at theDepartment of Water and Power. Gittes photographs Hollis in the company of a young woman and the pictures make their way into thePost-Record, exposing their apparent affair. Gittes is then confronted by the real Evelyn Mulwray, who threatens to sue him. He concludes that the impostor was using him to discredit Hollis.
Gittes crosses paths with his former colleague,LAPD Lieutenant Lou Escobar, when Hollis's corpse is found in a reservoir. Investigating further, he discovers that huge quantities of water are being released from the reservoir each night, despite the fact that the city is in the midst of a drought. Water Department Security Chief Claude Mulvihill warns him off, and he has his nose slashed by one of Mulvihill's henchmen.
Now working for Evelyn, Gittes investigates Hollis's death. He learns that Hollis was once the business partner of Evelyn's wealthy father, Noah Cross. Cross offers to double Gittes's fee if he finds Hollis's supposed mistress, who has disappeared. Gittes receives a call from Ida Sessions, the woman who posed as Evelyn. She refuses to say who hired her, but urges Gittes to check thePost-Record's obituary section.
Public records reveal that much of the Northwest Valley has recently changed ownership. Gittes recognizes one of the buyers' names from the obituary section; the obituary indicates that he had been dead for a week when the deal was closed. Gittes and Evelyn bluff their way into the retirement home where the buyer had lived and discover that many of the other residents are "buyers" too, although they have no knowledge of this fact. A suspicious staff member calls Mulvihill, but Gittes and Evelyn escape him and his thugs and hide at her mansion, where they sleep together. Later that night, Gittes follows Evelyn to a house where he sees her comforting the missing girl. When confronted, Evelyn claims the girl is her sister, Katherine.
A call from Escobar summons Gittes to Ida's apartment; she has been murdered. Escobar reveals that Hollis had saltwater in his lungs, indicating that he did not drown in the reservoir. He suspects Evelyn murdered him and tells Gittes to produce her quickly. At the Mulwray residence, Gittes retrieves a pair of glasses from the saltwater garden pond.
Gittes confronts Evelyn about Katherine, whom she now claims is her daughter. Frustrated, he repeatedly slaps Evelyn until she breaks down and reveals that Katherine is both her sister and daughter; the girl's father is Cross, who impregnated Evelyn when she was 15. She tells Gittes that the glasses he found did not belong to Hollis.
Gittes arranges for the women to flee to Mexico and instructs Evelyn to meet him at her butler's home inChinatown. He summons Cross to the Mulwray estate, having deduced that Cross dropped his glasses when he drowned Hollis in the pond. Cross reveals that he is behind both the water shortage and the land grab in the Northwest Valley. Once the land is his, he will obtain a contract from the city to build a reservoir there. He discredited and killed Hollis when the latter came close to uncovering the plan.
At gunpoint, Cross and Mulvihill force Gittes to take them to Chinatown, where the police are waiting. Escobar detains Gittes as Cross attempts to claim Katherine. Evelyn shoots Cross in the arm and tries to escape with Katherine, but the police open fire, killing Evelyn. Cross takes a distraught Katherine away, and Escobar orders Gittes released. As the traumatised Gittes is led away by his associates, one tells him, "Forget it, Jake. It's Chinatown."[a]
In 1971, producerRobert Evans offered Towne $175,000 to write a screenplay forThe Great Gatsby (1974), but Towne felt he could not better theF. Scott Fitzgeraldnovel. Instead, Towne asked Evans for $25,000 to write his own story,Chinatown, to which Evans agreed.[15][16][17] Towne had originally hoped to also directChinatown, but realized that by taking Evans' money, he would lose control of the project's future and his role as a director.[18]
Chinatown is set in 1937 and portrays the manipulation of a critical municipal resource—water—by a cadre of shadowy oligarchs. It was the first part of Towne's plannedtrilogy about the character J. J. Gittes, the foibles of the Los Angeles power structure, and the subjugation of public good by private greed.[19] The second part,The Two Jakes, has Gittes caught up in another grab for a natural resource—oil—in the 1940s. It was directed by Jack Nicholson and released in 1990, but the second film's commercial and critical failure scuttled plans to makeGittes vs. Gittes,[20] about the third finite resource—land—in Los Angeles, circa 1968.[19]
The character of Hollis Mulwray was inspired by and loosely based on Irish immigrantWilliam Mulholland (1855–1935) according to Mulholland'sgranddaughter.[21][22][23] Mulholland was the superintendent and chief engineer of the Los Angeles Department of Water and Power, who oversaw the construction of the 230-mile (370-km)aqueduct that carries water from theOwens Valley to Los Angeles.[22] Mulholland was considered by many to be the man who made Los Angeles possible by building the Los Angeles Aqueduct in the early 1900s.[24] The 233 mile long feat of engineering brought the water necessary for urban expansion from the Owens Valley to a Los Angeles whose growth was constrained by the limits of the Los Angeles River.[25] Mulholland credited Fred Eaton, then mayor of Los Angeles, with the idea to secure water for the city from the Owens Valley.[26]
Although the character of Hollis Mulwray was relatively minor in the film and he was killed in the early part of the movie, the events of Mulholland's life were portrayed through both the character of Mulwray and other figures in the movie. This portrayal, along with other changes to actual events that inspiredChinatown, such as the time frame which was some thirty years earlier than that of the movie, were some of the liberties with facts of Mulholland's life that the movie takes.[27]
Author Vincent Brook considers real-life Mulholland to be split, in the film, into "noble Water and Power chief Hollis Mulwray" and "mobster muscle Claude Mulvihill",[23] just as Land syndicate and Combination members, who "exploited their insider knowledge" on account of "personal greed", are "condensed into the singular, and singularly monstrous, Noah Cross".[23]
In the film, Mulwray opposes the dam wanted by Noah Cross and the city of Los Angeles, for reasons of engineering and safety, arguing he would not repeat his previous mistake, when his dam broke resulting in hundreds of deaths. This alludes to theSt. Francis Dam disaster of March 12, 1928.[28] Unlike the character of Mulwray, who was concerned about the dam inChinatown, Mulholland's role in the disaster diverged from the events in the film. Mulholland had inspected the St. Francis Dam after the dam keeper Tony Harnischfeger requested it, when Harnischfeger became concerned about the safety of the dam upon discovering cracks and brown water leaking from its base, which indicated to him the erosion of the dam's foundation.[29] Mulholland inspected the dam at around 10:30 in the morning, declaring that all was well with the structure.[29] Just before midnight that same evening, a massive failure of the dam occurred.[29] The dam's failure inundated theSanta Clara River Valley, including the town ofSanta Paula, with flood water, causing the deaths of at least 431 people. The event effectively ended Mulholland's career.[30][31]
The plot of Chinatown is also drawn not just from the diversion of water from the Owens Valley via the aqueduct but also from another actual event. In the movie, water is being purposely released in order to drive the land owners out and create support for a dam through an artificial drought. The event that the movie refers to occurred in late 1903 and 1904 when underground water levels plummeted and water usage rose precipitously.[32] Rather than a deliberate release, Mulholland was able to figure out that because of faulty valves and gates in the water system, large quantities of water were being released in the overflow sewer system and then into the ocean.[32] Mulholland was able to stop the leaks.[33]
According to Robert Towne, bothCarey McWilliams'sSouthern California Country: An Island on the Land (1946) and aWest magazine article called "Raymond Chandler's L.A." inspired his original screenplay.[34] In a letter to McWilliams, Towne wrote thatSouthern California Country "really changed my life. It taught me to look at the place where I was born, and convinced me to write about it".[35]
Towne wrote the screenplay withJack Nicholson in mind.[15] He took the title (and the exchange "What did you do in Chinatown?" / "As little as possible") from a Hungarian vice cop, who had worked in Los Angeles's Chinatown, dealing with its confusion of dialects and gangs. The vice cop thought that "police were better off in Chinatown doing nothing, because you could never tell what went on there" and whether what a cop did helped victims or further exploited them.[15][36][37]
Polanski first learned of the script through Nicholson, as they had been searching for a suitable joint project, and the producer Robert Evans was excited at the thought that Polanski's direction would create a darker, more cynical, and European vision of the United States. Polanski was initially reluctant to return to Los Angeles (it was only a few years since themurder of his pregnant wifeSharon Tate), but was persuaded on the strength of the script.[15]
Towne wanted Cross to die and Evelyn Mulwray to survive, but the screenwriter and director argued over it, with Polanski insisting on a tragic end: "I knew that ifChinatown was to be special, not just another thriller where the good guys triumph in the final reel, Evelyn had to die".[38] They parted ways over this dispute and Polanski wrote the final scene a few days before it was shot.[15]
The original script was more than 180 pages and included a narration by Gittes; Polanski cut and reordered the story so the audience and Gittes unraveled the mysteries at the same time.
According toSam Wasson'sThe Big Goodbye: Chinatown and the Last Years of Hollywood, Towne "secretly employed an old college friend named Edward Taylor as his uncredited writing partner for more than 40 years." (Taylor died in 2013).[39][40]
J. J. Gittes was named after Nicholson's friend, producer Harry Gittes.
Evelyn Mulwray is, according to Towne, intended to initially seem the classic "black widow" character typical of lead female characters infilm noir, but is eventually revealed to be a tragic victim.Jane Fonda was strongly considered for the role, but Polanski insisted on Dunaway.[15]
Noah Cross: Towne said that Huston was, after Nicholson, the second-best-cast actor in the film and that he made the Cross character menacing, through his courtly performance.[15]
Polanski appears in a cameo as the gangster who cuts Gittes' nose. The effect was accomplished with a special knife which could have actually cut Nicholson's nose if Polanski had not held it correctly.
In 1974, after making Chinatown and while filmingThe Fortune, Nicholson was informed byTime magazine researchers that his "sister" was actually his mother, similarly to the revelation made in the film regarding Evelyn and Katherine.[41]
Principal photography took place from October 1973 to January 1974.[42]William A. Fraker accepted the cinematographer position from Polanski when Paramount agreed. He had worked with the studio previously on Polanski'sRosemary's Baby. Robert Evans, never consulted about the decision, insisted that the offer be rescinded since he felt pairing Polanski and Fraker again would create a team with too much control over the project and complicate the production.[43]
Between Fraker and the eventual choiceJohn A. Alonzo, the two compromised onStanley Cortez, but Polanski grew frustrated with Cortez's slow process, old fashioned compositional sensibility, and unfamiliarity with the Panavision equipment. Alonzo had worked on documentaries and shot film forNational Geographic and for Jacques Cousteau.[44] Alonzo was chosen for his fleetness and skill with natural light a few weeks into production. Alonzo understood that Polanski wanted realism in his lighting; "He wants the soft red tile to look soft red."[45] Ultimately, only a handful of scenes in the finished film, including the orange grove confrontation, were shot by Cortez.[5] Because Polanski's English was poor, Alonzo and Polanski would communicate in Italian, which Alonzo would then translate for the crew.[46] Polanski was rigorous in his framing and use of Alonzo's vision, making the actors strictly adhere to blocking to accommodate the camera and lighting.[47]
In keeping with a technique Polanski attributes to Raymond Chandler, all of the events of the film are seen subjectively through the main character's eyes; for example, when Gittes is knocked unconscious, the film fades to black and fades in when he awakens. Gittes appears in every scene of the film.[15] This subjectivity is the same construction used in Francis Coppola'sThe Conversation in which the main character, Harry Caul (Gene Hackman), appears in every scene in the film.The Conversation began shooting eleven months prior toChinatown.
Jerry Goldsmith composed and recorded the film's score in ten days, after producer Robert Evans rejected Phillip Lambro's original effort at the last minute. It received anAcademy Award nomination and remains widely praised,[48][49][50] ranking ninth on theAmerican Film Institute's list of thetop 25 American film scores.[51] Goldsmith's score, with "haunting" trumpet solos by Hollywood studio musician and MGM's first trumpetUan Rasey, was released throughABC Records and features 12 tracks at a running time just over 30 minutes. It was later reissued on CD by theVarèse Sarabande label. Rasey related that Goldsmith "told [him] to play it sexy — but like it's not good sex!"[49]
In his 2004 film essay and documentaryLos Angeles Plays Itself, film scholarThom Andersen lays out the complex relationship betweenChinatown's script and its historical background,
Chinatown isn't a docudrama, it's a fiction. The water project it depicts isn't the construction of theLos Angeles Aqueduct, engineered by William Mulholland before the First World War.Chinatown is set in 1937, not 1905. The Mulholland-like figure—"Hollis Mulwray"—isn't the chief architect of the project, but rather its strongest opponent, who must be discredited and murdered. Mulwray is against the "Alto Vallejo Dam" because it's unsafe, not because it's stealing water from somebody else... But there are echoes of Mulholland's aqueduct project inChinatown... Mulholland's project enriched its promoters through insider land deals in theSan Fernando Valley, just like the dam project inChinatown. The disgruntled San Fernando Valley farmers ofChinatown, forced to sell off their land at bargain prices because of an artificial drought, seem like stand-ins for the Owens Valley settlers whose homesteads turned to dust when Los Angeles took the water that irrigated them. The "Van Der Lip Dam" disaster, which Hollis Mulwray cites to explain his opposition to the proposed dam, is an obvious reference to the collapse of theSaint Francis Dam in 1928. Mulholland built this dam after completing the aqueduct and its failure was the greatest man-made disaster in the history of California. These echoes have led many viewers to regardChinatown, not only as docudrama, but as truth—the real secret history of how Los Angeles got its water. And it has become a ruling metaphor of the non-fictional critiques of Los Angeles development.[52]
In a 1975 issue ofFilm Quarterly, scholar Wayne D. McGinnis drew parallels betweenChinatown andSophocles'Oedipus Rex. He argued that both works share a "wastelandmotif", wherein a central figure—Noah Cross inChinatown and Oedipus inOedipus Rex—exploits a plague or crisis to gain power, ultimately becoming the source of deeper societal corruption. According to McGinnis, both narratives reflect the moral decay of their respective eras: ancientAthens during a time of post-heroic intellectual upheaval, and the United States during theWatergate era.
McGinnis further suggested that director Roman Polanski symbolically divides the character of Oedipus into two figures inChinatown. Jake Gittes, the film's protagonist, embodies the morally conscious "good" Oedipus, a seeker of truth who gradually uncovers a network of corruption. He contended that Gittes' pursuit of rational investigation blinds him to emotional and moral complexities, invoking literary theoristsCleanth Brooks andRobert B. Heilman to describe Gittes as "the Oedipus whose success [...] has tended to blind [him] to possibilities which pure reason fails to see."
McGinnis concluded that both works elicit pity for their protagonists, noting that "there is finally pity for the doomed, ignorant Gittes, just as there is pity for the blind Oedipus in Sophocles", but that Gittes' understanding, like that of Oedipus, arrives too late to change the outcome.[10]
Chinatown was released in the United States on June 21, 1974, byParamount Pictures. The film grossed approximately $29.2 million domestically, with an additional $28,149 earned in international markets, resulting in a worldwide total of $29.23 million.[53]
Adjusted for inflation,Chinatown's domestic gross is estimated to be approximately $146 million in 2022 dollars.[54]
Chinatown received widespread critical acclaim for its screenplay, direction, and performances, and is often regarded as one of the greatest films of the 20th century.
OnRotten Tomatoes, the film holds a 98% approval rating based on 147 reviews, with an average score of 9.40/10. The site's consensus reads: "As bruised and cynical as the decade that produced it, this noir classic benefits fromRobert Towne's brilliant screenplay, directorRoman Polanski's steady hand, and wonderful performances from Jack Nicholson andFaye Dunaway."[55] OnMetacritic, the film has a weighted average score of 92 out of 100, indicating "universal acclaim."[56]
Roger Ebert includedChinatown in his "Great Movies" list, noting that Nicholson's performance was instrumental in lifting the film beyond a standard crime thriller, and concluding that it "seems to settle easily beside the original noirs."[57]James Berardinelli ofReelViews praised the film as "unquestionably one of the best films to emerge from the 1970s," highlighting its complex characters and narrative.[58]
Peter Bradshaw ofThe Guardian described the film as a "superlative neo-noir," stating thatChinatown "now looks like a classic in a direct line of succession to earlier pictures" and has "weathered the years with a real touch of class."[59] Rob Fraser ofEmpire echoed the sentiment, calling it "the best private eye movie ever made" and "a never-bettered noir masterpiece."[60]
Ryan Brown, writing forPantheon of Film, characterized it as "a masterpiece drenched in murky reservoir water," lauding its bleak tone and thematic depth. He noted that the film "flips an entire genre on its head in masterful fashion."[61]Cineluxe emphasized the film's striking visual and narrative cohesion, describing it as "a razor-sharp, tightly paced film that remains just as unnerving and engrossing today."[62]
Common Sense Media noted the film's mature themes and disturbing content, advising that it's "best suited for older teens and adults," but also commended it as "a landmark of American cinema" with "powerful storytelling."[63]
While the film was praised by most major critics,Vincent Canby ofThe New York Times offered a more reserved view, suggesting that the filmmakers "have attempted nothing so witty and entertaining," and expressing a preference for earlier noir classics. However, he acknowledged Nicholson's performance as the film's "major contribution to the genre."[64]
A sequel titledThe Two Jakes was released in 1990, with Jack Nicholson reprising his role as Jake Gittes and also serving as director. Robert Towne returned as screenwriter. Unlike its predecessor, the film received mixed reviews and was a commercial disappointment.
In November 2019, a prequel television series was reported to be in development atNetflix, withDavid Fincher and Robert Towne attached to the project. The series is expected to explore the early career of Jake Gittes and the founding of his detective agency.[86]
Chinatown is widely regarded as one of the most influential films of the 20th century, particularly noted for its screenplay by Robert Towne, which has been frequently cited as one of the greatest ever written.[19][88][89] The script is renowned for its narrative structure, character development, and integration of personal and political themes. Despite Towne's significant contribution, the film's final scene was changed by director Roman Polanski, who insisted on a more pessimistic ending. Towne had originally conceived an alternative conclusion in which Evelyn kills her father and is imprisoned, unable to reveal the truth, while Jake Gittes remains silent. Polanski, however, opted for a starker ending, in which Evelyn is killed and her daughter is taken by Noah Cross. Towne initially objected, describing Polanski's version as overly melodramatic, but later acknowledged its effectiveness, stating, "Roman was right."[90][91]
The film's closing line—"Forget it, Jake. It's Chinatown."—has since become one of the most iconic lines in American cinema and is frequently referenced in popular culture as a symbol of fatalism and moral ambiguity.Chinatown has been credited with revitalizing the film noir genre, blending classical noir elements with 1970s sensibilities and themes of political corruption, institutional failure, and trauma. Its visual style, characterized by subdued colors, natural lighting, and restrained cinematography, has been influential in both academic film studies and contemporary filmmaking.[92]
The film also drew public attention to historical events involving theCalifornia water wars, particularly the controversial diversion of water from the Owens Valley to supply Los Angeles in the early 20th century.[93] The fictional narrative was inspired in part by these real-life events, and scholars have noted the film's commentary on land speculation, environmental exploitation, and civic corruption. More recent analyses have framedChinatown as a broader critique of patriarchal control and capital-driven urban development, with contemporary critics drawing parallels between its themes and ongoing socio-political issues.[94]
On the occasion of its 50th anniversary, the film has continued to receive critical reappraisal. Outlets such asBBC Culture,Screen Rant, and theLos Angeles Review of Books have reaffirmed its cultural and cinematic relevance, emphasizing its enduring legacy in shaping modern noir and political thrillers.[95][96][97]
^The film title and the oft-quoted line "Forget it, Jake, it's Chinatown," almost certainly refer to "Old Chinatown", or at least the popular perception thereof.[14] Old Chinatown was gradually demolished, starting in 1933, to allow for construction ofUnion Station, with the grand opening of "New Chinatown" in 1938.
^abcdefghRobert Towne, Roman Polanksi and Robert Evans (April 11, 2007).Retrospective interview from Chinatown (Special Collector's Edition) (DVD). Paramount.ASINB000UAE7RW.
^* Thomson, David (2005).The Whole Equation: A History of Hollywood.ISBN0-375-40016-8
^abcBrook, Vincent.Land of Smoke and Mirrors: A Cultural History of Los Angeles; Rutgers University Press; 2013;ISBN978-0813554563
^Standiford, Les (2016).Water to the Angels: William Mulholland, His Monumental Aqueduct, and the Rise of Los Angeles. New York: Ecco: an imprint of HarperCollins Publishers. p. 3.{{cite book}}: CS1 maint: publisher location (link)
^Standiford, Les (2016).Water to the Angels: William Mulholland, His Monumental Aqueduct, and the Rise of Los Angeles. New York: Ecco: an imprint of HarperCollins Publishers. pp. 3, 64.{{cite book}}: CS1 maint: publisher location (link)
^Standiford, Les (2016).Water to the Angels: William Mulholland, His Monumental Aqueduct, and the Rise of Los Angeles. Ecco: an imprint of HarperCollins Publishers. p. 66.{{cite book}}: CS1 maint: publisher location (link)
^Standiford, Les (2016).Water to the Angels: William Mulholland, His Monumental Aqueduct, and the Rise of Los Angeles. New York: Ecco: an imprint of HarperCollins Publishers. pp. xv.{{cite book}}: CS1 maint: publisher location (link)
^abcStandiford, Les (2016).Water to the Angels: William Mulholland, His Monumental Aqueduct, and the Rise of Los Angeles. New York: Ecco: an imprint of HarperCollins Publishers. p. 5.{{cite book}}: CS1 maint: publisher location (link)
^Pollack, Alan (March–April 2010)."President's Message"(PDF).The Heritage Junction Dispatch. Santa Clara Valley Historical Society.Archived(PDF) from the original on June 9, 2013. RetrievedOctober 17, 2013.
^abStandiford, Les (2016).Water to the Angels: William Mulholland, His Monumental Aqueduct, and the Rise of Los Angeles. New York: Ecco: an imprint of HarperCollins Publishers. p. 62.{{cite book}}: CS1 maint: publisher location (link)
^Standiford, Les (2016).Water to the Angels: William Mulholland, His Monumental Aqueduct, and the Rise of Los Angele. Ecco: an imprint of HarperCollins Publishers. p. 63.{{cite book}}: CS1 maint: publisher location (link)
^Towne, Robert (May 29, 1994)."It's Only L.A., Jake".Los Angeles Times.Archived from the original on June 19, 2016. RetrievedMay 11, 2017.
^Brownstein, Ronald (2021).Rock Me on the Water. New York: HarperCollins. pp. 170–171.ISBN978-0062899217.
^Klein, Norman M. (2008).The history of forgetting : Los Angeles and the erasure of memory (New updated ed.). London: Verso.ISBN978-1-78960-413-9.OCLC609301964.
^Wasson, Sam (2020).The Big Goodbye: Chinatown and the Last Years of Hollywood. New York: Flatiron Books. p. 205.
^Wasson, Sam (2020).The Big Goodbye: Chinatown and the Last Years of Hollywood. New York: Flatiron Books. p. 204.
^Wasson, Sam (2020).The Big Goodbye: Chinatown and the Last Years of Hollywood. New York: Flatiron Books. p. 207.
^Wasson, Sam (2020).The Big Goodbye: Chinatown and the Last Years of Hollywood. New York: Flatiron Books. p. 208.
^Teachout, Terry (July 10, 2009)."The Perfect Film Score".The Wall Street Journal.Archived from the original on October 28, 2016. RetrievedDecember 7, 2016.
^Schweiger, Daniel (March 15, 2010)."CD Review: The Ghost Writer – Original Soundtrack".Film Music Magazine. Global Media Online.Archived from the original on January 15, 2017. RetrievedDecember 7, 2016....of all of his movies that involve some sort of conspiracy, Jerry Goldsmith's Oscar-nominated film noir stylings forChinatown are the most renowned. I can dare to say that while nothing is going to top that classic score...
^Sragow, Michael (January 7, 1999)."From Chinatown to Niketown".Cleveland Scene.Archived from the original on January 18, 2017. RetrievedJanuary 14, 2017.
Easton, Michael (1998)Chinatown (B.F.I. Film Classics series). Los Angeles: University of California Press.ISBN0-85170-532-4.
Standiford, Les (2016).Water to the Angels: William Mulholland, His Monumental Aqueduct, and the Rise of Los Angeles. New York: Ecco, an imprint of HarperCollins Publishers. ISBN 9780062251459.
Thomson, David (2004).The Whole Equation: A History of Hollywood. New York, New York: Alfred A. Knopf.ISBN0-375-40016-8.
Towne, Robert (1997).Chinatown and the Last Detail: 2 Screenplays. New York: Grove Press.ISBN0-8021-3401-7.
Tuska, Jon (1978).The Detective in Hollywood. Garden City, New York: Doubleday & Company.ISBN0-385-12093-1.
Wasson, Sam (2020).The Big Goodbye. Chinatown and the Last Years of Hollywood, Flatiron Books.ISBN9781250301826.
Chinatown essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry A&C Black, 2010ISBN0826429777, pp. 706–707
