All the films from all the editions, including those subsequently removed, presently totalling 1177. 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: the supremely desirable Gilda, whom Johnny once knew and learned to hate. The relationship of Johnny and Gilda, a battlefield of warring emotions, becomes even more bizarre after Mundson disappears...
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.
A.V. Club review. For someone with little to no rep among auteurists, Vidor directs the hell out of this; the way he shoots Macready's Ballin alone deserves a visual essay—not least for the truly extraordinary shot I reference in the review, which you can currently see from 26:42 to 27:14 here (albeit in the wrong aspect ratio, which diminishes it slightly).
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…
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.
GILDA AND JOHNNY HAVE THE SEXIEST WE-HATE-EACH-OTHER TENSION IN THE ENTIRE HISTORY OF CINEMA
A bonafide classic and one to revel in over and over again. Because, of all the casinos in all the towns in all the world Gilda had to walk into his. And we’re damn lucky she did.
Full review at FilmJuice.com
While I still give film noir a pass on its distant affectation and melodrama (“JOHNNY...”), there’s remarkable cinematography in ‘Gilda’ that goes beyond high contrast black and white, dipping its toe into full underexposure (Johnny and Ballin at the safe, closeups of Gilda in the bedroom).
I understand now why Orson Welles fell for Rita Hayworth. I put the blame on the dame.
One of the most iconic film noir's out there, although more so known for it's leading lady and her dress over anything of substance in the plot.
The film follows an out of his luck gambler and cheat who is taken up under the wing of a Casino owner and told to look after his wife, played by Rita Heyworth, of which the gambler and girl seem to have a dark history together.
The plot spins out in standard fashion, with Raymond Chandler levels of macguffins and twists acting out with hidden wills hidden away within hidden safes. All three characters are various levels of despicable, with Protagonist Johnny being a complete dick through and through. Which I must admit,…
The part I really like is when she does that shit with her hair.
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…
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