All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
There NEVER was a woman like Gilda!
Just arrived in Argentina, small-time crooked gambler Johnny Farrell is saved from a gunman by sinister Ballin Mundson, who later makes Johnny his right-hand man. But their friendship based on mutual lack of scruples is strained when Mundson returns from a trip with a wife: whom Johnny once knew and learned to hate.
Film #25 of Project 40
”I make my own luck.”
An under-appreciated noir which instead of the gloomy streets of an American metropolis happens in the glamorous casinos of Argentina with a triangle of mysterious characters who seemingly have no past. Charles Vidor is the director behind this unpredictable story of lonely men who have nowhere to go and tempting women who look tantalizing on the surface but are lost and crushed deep down, it features Rita Hayworth as the impeccably seductive Gilda and along with the doubtful Glenn Ford they build a relationship filled with sexual tension, uncontrollable passion and dangerous hatred. Gilda mainly evolves around mysteries surrounding almost every aspect of the story, it never gives us clear-cut…
What was I thinking when I bumped Rita Hayworth off my Top 10 Sexiest Actresses: All Redhead Edition list a few months ago? I've corrected it and put her back on.
Need a reason to watch this? Rita Hayworth.
Are there other reasons? No. Not really.
I was introduced to this film via Shawshank, and that scene, you know the scene, sits quite comfortably on top of all others in Gilda. It really is something.
Straight women must get absolutely nothing out of this....
Glenn Ford is particularly unbearable as Johnny. The smirking-like-Jerry Seinfeld, misogynistic little twerp of a protagonist, also responsible for the awful narration.
And then there's the plot......wtf? Tungsten, world domination, nazis, spies, a cop that looks to be more interested in grooming his moustache than capturing criminals, tedious song numbers, the melodramatic will they won't they, ahh, who gives a shit really story and a flat ending.
As the saying doesn't go, but should, "Wherever you go, there you are trapped."
Not the neatest narrative in film history, but surely one of the more twisted triangles to slip through during Hollywood's prudish years. Misanthropy is not uncommon in noir, but here it replaces sexuality and leaves one guessing whether or not Glenn Ford's character feels sexual attraction towards his father figure with his lethal (phallic) cane, or is it more Oedipal, and he resents his attraction to his adopted father's new wife? Either way, he's ragingly mad about it. The mystery of the exact nature of relationships between the characters drives a good half of the movie, but things fall apart a bit when an overly convoluted…
Ladies and gentlemen, Rita Hayworth. In one of the greatest performances of the golden decade, she combines rambunctiousness and flirtatiousness with sinister balefulness. The result is a performance the glistens with seduction and menace. Whether she's singing or in tears, the work of a cold-hearted and calculating femme-fatale is powerfully evident. Forget Barbara Stanwyck's one-note coldness, the chilling depth of Gilda's desperation is what gives the film its relevance. Hayworth saves the film from pure mediocrity.
Of course, even her powerful presence isn't enough to salvage the implausible and toothless script. The final scene tramples on everything we know about the characters as it tries desperately to be a Casablanca -esque success. There's an awful lot of Casablanca to be noticed here, and believe it or not, those are the worst moments.
Rita Hayworth for life.
Overstuffed with plot, characters, and themes, almost as if the filmmakers didn't realize that we're here to see Rita Hayworth glow. But how could that even be possible?
"Hate is the only thing that has ever warmed me."
There's a plot somewhere about nazis, and...tungsten, because he who controls tungsten controls the world. Nevermind that crap, you watch this for Hayworth's and Ford's dialogues and interactions. Their silly yet engaing love/hate relationship. At some point one character decides to punish the other, because decency and stuff. I lost some interest in the film right there, and the final act is spelled out for the audience like one hour before the ending. Yet if there was ever a movie that existed for the sole purpose of building a cinematic myth, here's that case. I can understand the guy in Cinemania saying his sex life is one big failure because he will never have black and white Rita Hayworth in his arms. I KNOW THAT FEEL BRO.
1940s misogyny aside, this is absolutely perfect.
After being objectified throughout the who movie by both the male characters and the camera itself, Gilda, in the last scene, wears a pin stripe suit jacket that seems starkly opposed to her usual wear. This is a film that deals with how people view other people, or where a person's focus is when viewing another person. In the end, the camera treats Gilda with more restraint and less intrusion than it had previously framed her.
It is just me or the scene where we are introduced to Rita Hayworth was a direct inspiration to the Blade Runner interrogation scene?
I found the movie Gilda to be a very interesting movie. The cast of characters of Rita Hayworth and Glen Ford kept the movie moving with their continual give and take in terms of two people who were truly in love with each other. Yes, I never thought I would say a white woman from the 1940's like Rita Hayworth was not only gorgeous but also a very sexy woman. The screen lit up with her personality and sex appeal. I love the plot and the clothes that she wore were very fashionable and could easily be worn today. I was truly shock that I enjoyed the movie as much as I did.
This film is gorgeous in so many ways - the production design it great, the camera always pushes in at just the right moment, the chiaroscuro lighting is perfect, and Rita Hayworth is on screen a fair amount of time. The plot is also intriguing and exciting for three-quarters of the film - it's only the ill-fitting Hollywood ending and a healthy dose of misogyny (remarkably tossed aside on behalf of said Hollywood ending) that keep this from being a masterpiece.
Nice! Beautifully shot and accompanied by some sweet tunes, Gilda is very enjoyable. It helps, too, that the lovely Rita Hayworth is in it as well. There are some moments that could have been improved on but overall it's a good movie.
Fifth film of Noir-November.
The plot is goofy, like many noirs, but the witty dialogue and Rita Hayworth makes it all good.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- Citizen Kane
- 2001: A Space Odyssey
- Tokyo Story
- The Rules of the Game
- The Captive
- Clouds of Sils Maria
- Goodbye to Language
- The Homesman
Originally a list made prior to Cannes 2014.
This is every Palme d'Or nominee since the festival began in 1946.…