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: 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…
This review reportedly contains spoilers. I can handle the truth.
Boy, howdy. How do you parse the sexual politics of a film like this? I don't know if the audience is supposed to cheer Hayworth's slut-shaming isolation in the film's final act, but I certainly know how -I- felt about it. Free Gilda.
Falls prey to the femme fatale's constant undermining trait - that every transgressive action revolves around a man - but I would watch it again just for the script.
This movie's at its razor-sharp best when its deconstructing interpersonal power dynamics in a weird love triangle full of half-truths and veiled threats; it's pretty mediocre when it slows down to get carried away with a second-rate thriller plot about tungsten patents and murder investigations. Still, there's Rita Hayworth in THE defining role of the decade and she nailed it. Glenn Ford wasn't bad either. If this movie continued to be as sharp and spunky as its first hour, this would be a hands down masterpiece.
Rita Hayworth is THE femme fatale, sexy in a way that modern cinema seems to have forgotten (who knows? Maybe it's the black and white...)
Great, great noir, with perfect dialogues and memorable characters. Definitely a big inspiration for Scorsese's Casino.
Perhaps a bit misogynist, but - hey - it's from the 40s.
The hateful/flirtatious interplay between Rita Hayworth's titular femme fatale and Glenn Ford's Johnny Farrell is what cements Gilda as a classic noir (though almost all of the credit goes to Hayworth for that) worth one's time.
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…
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…