'Chinatown' is a crime novel. It's set in Los Angeles, like most of the best, and right from the start you might even mistake it for an homage to the city. It is only towards the end that you realize that the visit has led you gradually, coldly, into a room containing the most degraded human diabolicity possible. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay The most imaginative scene in this film is its conclusion. How Cross accomplishes this in the end is arguably the saddest part of the film. Escobar raises his weapon to fire at the retreating vehicle, and Jake, in a last attempt to regain control, grapples with the Escobar, but Jake's call was truly a misstep, as Escobar simply took the wheels, and once they were involved in the mix, Loach stepped in and pointed directly at the car. Jakes' misstep in judgment is evident minutes after the fact. The long sound of the horn prepares us for the inevitable news, much like the other night outside her safe house, but this time she is dead, Loach shot her. The image of his vast wound is the final sign, this film does not end as we expected. The final symbolism, the disappearance of honesty. The innocent was pulverized. Evelyn was affected by her inadequate eye, her father's legacy. Cross currently plays the father who complains and worries about "grandfather" and takes Katherine away. Gets It All: The final fate of Los Angeles and Katherine. Escobar still totally misunderstands what happened. He allows the evil father and murderer to escape and accepts that the guilty Evelyn was unintentionally killed while trying to escape. Evelyn Mulwray worked as a legend in her and Cross's little girl's life. Both feared thus, preventing Cross' potential sexual abuse of their normal child. If Cross had kicked the bucket, the ruse would have been defeated, but the purpose of the substitution catastrophe would have been lost. With Evelyn Mulwray biting the dust, it gets to what it was trying to turn into, an astonishing catastrophe, hitting its point with great inconsistency, in exemplary writing. Jake, who the group of viewers has come to relate to through cinema, is denied the effective determination normally expected of a film's hero. He is forced to sell the woman he was trying to conquer, and when Jake tries to do his usual job as a realistic private investigator and clarify the case he recently investigated to the experts, he is completely ignored. Because Jake's efforts to clarify the facts are so inadequate to get in the way as often as possible, and in light of the fact that Cross is so powerful and high, the group of spectators immediately loses its relationship with Jake's perspective, standing out rather with that same degenerate social structure. Jake's statements are urgent, unmistakably those of a man who realizes he is on more fragile ground, while Cross speaks with serenity and energy, as if his seriousness and honesty are taken for granted. As a young man, Jake was a policeman in Chinatown. He once attempted to capture a woman, but as an immediate consequence of his mediation, she was "wounded" (meaning the woman kicked the bucket). Thus, Jake ended up skeptical and dispassionate. During his investigation in the film, Jake once again tries to win over a woman and, little by little, is executed as an immediate consequence of his intercession. He has a dull look on Evelyn's body. Jake doesn't explode. He doesn't scream and shout at Escobar to listen to him and.