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.
Gilda? I hardly know 'er!
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.
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…
Hate can be a very exciting emotion.
Oh boy, this movie was amazing. Probably one of my favorite film-noirs, mostly because it was not very film-noir-like. It has the brooding man who does a lot of voiceover, the dame, the shadows, the crime but it felt a lot less so. Perhaps it was because the story was a lot less dependent on the narration, which I greatly appreciated. It did a lot of showing instead of telling. This script is one of the best I’ve seen come out of the 40s. If I explained the plot to someone it would come out as a basic love-triangle, crime movie, but from the very opening scene this film is dealing with a…
Film 20/30 of my "Scavenger Hunt #5"
Task 1. Film featuring Gambling
"Women can be extremely annoying."
"How dumb can a man be?"
It wouldn't be a 1940s film without that casual sexism and Gilda has plenty of it (also German bad guys which are also here). Rita Hayworth and Glenn Ford exude classic Hollywood in this exquisite noir film. They are beautiful, charismatic, and unforgettable. Glenn Ford, who plays Johnny, gets that suave yet tough-as-nails character and really brings it with his acid tongue and slap-slap-punch combo. Rita Hayworth's performance as Gilda shows a lot more range than Ford here, going from happy-go-lucky to wounded lover. I am a little disappointed Gilda's character is so strong in the…
Rita Hayworth may be the most photogenic person in history.
Only the second film I've seen Hayworth in, the first being Only Angels Have Wings. It's probably been said a million times by now, but wow does she light up the screen. (It helps of course that her clothes literally dazzle.) If I didn't quite understand her appeal based on just her poster in The Shawshank Redemption, I sure do now. Unfortunate that the film that surrounds her kind of fades by comparison (though it does allow for her dazzling performances). As far as noirs go, this one subordinates the details of the plot to the shifting relationships between the three main players, which is exciting for a good hour, but quickly loses steam once it becomes clear that…
It’s like if Double Indemnity, Sweet Smell of Success, Notorious and The Devil is a Woman got married and had a baby. If that sounds like polygamy, it’s because this movie is into that too.
What happened to the sex-crazed gold digger character type? This movie is sort of a commentary on it; I was just listening to the Rita Hayworth episode of You Must Remember This about how she was pressured to be like that off-screen, but was really very unhappy about it. I can see why this character would have enhanced the charm of various female movie stars at that time but, I know very few people who actually act that way. And knowing a little more about…
Rita Hayworth in perhaps the most selfconsciously misogynistic film noir of them all as the femme fatale deliberately messing things up for the boys and their toys.
One of a kind, for sure! Star-making performance, yes.
This is a Rita Hayworth vehicle first and foremost, and it works like a charm. Hayworth plays what has to be the most beautiful femme fatale in noir history, who sways from sultry to vulnerable with ease.
The plot's all right with a love/hate triangle taking center stage, but benefits from a drastic turn at the beginning of the third act. It falters a bit from an uncharacteristic finale that doesn't really make a lot of sense given what the characters have gone through up to that point, but it doesn't take away from the beauty and effectiveness of Hayworth.
Much better than camp but a little too lurid for art, Charles Vidor's 1946 film is one of the high points of postwar romanticism, snide and sentimental at the same time. George Macready, slimy owner of a Buenos Aires casino, hires out-of-luck American Glenn Ford to tend the crap tables, unaware (or is he?) that Ford was once in love with his wife, Rita Hayworth. Hayworth's rendition of "Put the Blame on Mame" has been known to provoke impure thoughts.
Good noir with Rita Hayworth showing sensuous star quality as Gilda, particularly in her "Put the Blame on Mame" number. Glenn Ford is intense as a business partner of Gilda's husband who has a past with her. His often abrupt switches to and from hostility to Gilda weaken the film.
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…