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…
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…
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.
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?
Rita Hayworth absolutely makes this movie. If this had starred any other actress, I wouldn't care for it at all. But Rita so completely and totally owned the part of Gilda that I will gladly watch it over and over again just because I love watching her in it.
Rita Hayworth positively sizzles in every frame of the film and easily steals the picture away from her two co-stars. The film is terrifically shot but some of the thematic implications concerning Gilda's motivations are troubling. The script could've used some work (particularly the ending) and George Macready is awfully wooden, but the film is an enjoyable film noir nonetheless. 7.5/10
This review reportedly contains spoilers. I can handle the truth.
A tragic film noir about how love destroys you, complete with fantastic performances and wonderful directing... Yeah, I was bound to love this one.
classic and classy noir/erotic thriller, with a great turn by the two leads, Glen Ford and Rita Hayworth. Her 'put the blame on Mame' is one for the ages.
I didn't quite understand some of the character motivations to be honest, and it bothered me through much of the running time, but in the end, it really didn't matter. This is more about style and mood than logicality.
Sometimes I call an experimental film that attempts a number of ambitious or unique things but does not quite come together an "interesting failure." Gilda is an "interesting failure" in that the movie's own failure to do what it wants (namely align us with Glenn Ford and punish/tame Gilda at the end) makes it interesting. Rita Hayworth steals this movie from Charles Vidor with her perfect line delivery and mannerisms. She's so great and enticing and the film is so enamored with her that Gilda becomes something rather like Notorious, in which a likable male lead is a huge dick who thinks of women purely in terms of who they are sleeping with. The big difference is that Hitchcock realized that and Vidor didn't.
One of the best arguments for actor as auteur out there.
This review reportedly contains spoilers. I can handle the truth.
There's not a lot of serious film response in this, because my main thought coming away from this movie continues to resonate around one very specific thought: If ever there was a movie about the worst of humanity that deserved a fatalistic noir ending, this is it. And yet... it doesn't have one. The leads somehow get together, and it's implied that they just might live happily ever after. This is the ending I get after an hour and 45 minutes of people being genuinely horrible to each other because of a vague reason that's never actually given to us? THIS is what I was waiting for? I clearly missed something here, because this is one of the most disappointing…
Just discovered Rita Hayworth, and she is astonishing!
I've seen quite a few of the classic film noirs, and I love most of them to death (The Maltese Falcon, Double Indemnity, The Third Man, etc.) but this might be the best. The whole cast is great and makes even the most secondary characters exciting and memorable, although the clear standout is Rita Hayworth. Iconic status aside, the expressiveness of her face in every scene is breathtaking. The classic noir style is on full display, but it isn't vapid and affected like in some of the more banal noirs. It adds to the narrative, the pace and the themes in every scene. But the screenplay is also incredibly complex, at times playful, and very knowing of what it's trying…
First of all, GILDA features one of the most perverse ménages à trois in film history. Sure, there's some stuff about Nazi spies and tungsten cartels, but none of that can hold a candle to the love/hate relationship, the emotional tug-of-war, and the sexual brinkmanship that is played out between the 3 main characters. Although the ending smacks of Production Code compliance, it's amazing that the preceding 100 minutes -- with their highly suggestive dialogue, barely disguised sexuality, and flagrant eroticism -- exist at all.
Finally, no review of GILDA can be considered complete without acknowledgment of the unbelievable incandescence of Rita Hayworth. She is absolutely breathtaking! (And I mean that literally. If your breath doesn't catch at her first appearance and several other times throughout, then check your pulse.) They just don't make them like her anymore.
Gilda is an example of how style, attitude, sharp dialogue, and a beautiful woman can triumph over plot in film noir. Reviewed on flickersintime.com July 13, 2014
Originally a list made prior to Cannes 2014.
This is every Palme d'Or nominee since the festival began in 1946.…