All the films from all the editions, including those subsequently removed, presently totalling 1154. 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.
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…
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.
It is hard for me to see how this passed the Hayes Code standards for decency.
The story opens with a down on his luck gambler named Johnny Farrell, played by Glenn Ford. He meets a wealthy casino owner by chance and quickly becomes his protegee. The two are doing well until the rich man introduces a third party, his wife of only a couple of days, Rita Hayworth as the titular Gilda.
It quickly becomes evident that Johnny and Gilda have a history, and a tumultuous one at that. They trade barbs and insults at every given opportunity. Gilda is hell bent on making Johnny jealous, and she will seemingly stop at nothing to ruin his life. Even if…
"This is the part I really like, when she does that shit with her hair."
-Red (Morgan Freeman) in The Shawshank Redemption
I like that shit too Red. I think we all do. After all, who could resist the dazzling beauty of Rita Hayworth?
Gilda: 'Would it interest you to know how much I hate you, Johnny?'
Johnny Farrell: 'Very much'.
Gilda: 'I hate you so much that I would destroy myself to take you down with me'.
One of the few things I admired about last year's American Hustle is that Jennifer Lawrence got to play a Hollywood Golden Age starlet, I know it was set in the seventies but that's what she reminded me of, and it was great fun to watch. Shame the rest of the film was so messy.
This film lives up to its immortal femme fatale.
When Gilda, (Rita Hayworth) shows up, it's a moment calculated to get the audience oohing and aahing. All she does is throw…
Wrote about Laura here, where I argued that its formal magnificence was almost enough to disguise that its portrait of male obsession and possessiveness was incredibly shallow. Gilda is the opposite case, where it's a much richer look at the subject but the filmmaking isn't nearly as impressive. Charles Vidor does a more than passable job (it's kind of hard to fuck up photographing Rita Hayworth, who's spectacular here), but there's nothing remotely as expressive as even the introduction of Dana Andrews in Preminger's film.
But Gilda's central conceit is more effective because its protagonist actually is just as stained with sin as its villain, and Glenn Ford is more skillful at suggesting fury, cruelty and obsession than Andrews. And…
You know that infamous scene? The "Gilda, are you decent?" one? Yeah. Everyone knows that scene.
That is the only valid reason to watch this film.
Those three seconds.
Otherwise, this movie is boring, and Rita Hayworth is absolutely annoying, especially when she's singing and dancing.
Rita Hayworth gives a striking performance, but the rest of the film seems slightly misogynistic in its approach by focusing on a woman submissively switching between the hands of men.
This review reportedly contains spoilers. I can handle the truth.
A sexual and erotic film without any sex. Fascinating how Vidor lingered on the characters, forcing them to reveal their true selves. He also creates a wonderful mood and stillness, especially in the casino scenes. The film is told in subtle looks and plot details are kept under the surface. It's like a good short story but the the final act is messy and weighty and the short story becomes a baggy unpublished novel. Rita Hayworth's entrance shot is a classic moment of cinema.
"Hate is a very exciting emotion."
Full of the same cleverly poisonous dialogue as the likes of MILDRED PIERCE and SWEET SMELL OF SUCCESS not to mention the same caustic atmosphere. This is the Yin to THE DEVIL IS A WOMAN's Yang, which also takes place during Carnival, since both feature defiantly liberated female leads, but this one shows the much darker sides of the men who surround her. And if awards were given out for Most Aesthetically Perfect Human Being In Their Particular Time And Space, Rita Hayworth would clean up.
Greg Proops told me to watch this too, and since he didn't steer me wrong with Wonder Boys, I can't really come up with a good excuse to not believe him this time.
Don't count your money in a fucking alley you stupid shit, are you some kind of fucking imbecile?
"You must lead a gay life." haha
"Hey, who's she?" "A harpy."
Hey guy cheating at Blackjack, could you be any MORE obvious?
"Gambling and women do not mix."
Ooooooh, someone has some history!
Rita Hayworth is well fit.
"The world's a pretty big place." "Made of stupid little people."
Ooh, Munsen completely unlit.
Did, did she get married while wearing her mourning blacks?
Did Lucas and…
What really impressed me about this film was the direction from Charles Vidor. He assembles an all star group of collaborators and seamlessly balances all their talents.
Rudolph Maté cinematography is nothing short of masterful. He has a profound understanding of cinematic space and its on full display here. He frames the film in such a baroque way and it perfectly melds with the extreme melodrama of the plot.
Gilda will take a little more suspension of belief than usual, but after that its a wonderfully opulent and expertly directed piece of classic noir. It features all the defining features of the movement, but because the of the excellent technical construction it feels fresh and never boring. Its a classic example of old school Hollywood meldrama.
- 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
- Citizen Kane
- 2001: A Space Odyssey
- The Rules of the Game
- Tokyo Story
Another year, another update. 2012 List can be found here.
The following is a really extensive and great list of…