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…
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…
Sexy and seductive, Gilda puts the female form on display and leaves no doubt in the viewer's mind where the power lies in a relationship between a man and a woman. Rita Hayworth plays the titular character who attempts to assert her independence and struggle for control in her life the only way she knows how. She performs on stage in a twisted attempt to gain power, but these displays further entrap her by the controlling male dominance that she is constantly trying to flee yet craves at the same time.
Her form is used throughout the film to convey the seductive nature of her character and to evoke desire from the male perspective felt by the viewer. The male characters enhance this perspective by controlling Gilda on a grand scale, but, at the same time, the men are obsessed by her beauty which acts to control their desires and drive the action in the film.
As we were discussing the idea of the male gaze in film, I can see where that particular subject can be seen a lot in this film. When Gilda is being "seen" through the eyes of a male character the lighting is different, the angles are different, and all to make her seem more attractive.
Overall I thought this was a good film, my only point of criticism would be that it seemed to be a "romance" caught in the middle of a crime movie, or a crime movie caught in the middle of a "romance" and at times you weren't sure which.
A great beginning quickly descended into nonsensical melodrama. Rita Hayworth was fabulous, but this material was not.
This review reportedly contains spoilers. I can handle the truth.
Winterbourne stopped, with a sort of horror; and, it must be added, with a sort of relief. It was as if a sudden illumination had been flashed upon the ambiguity of Daisy's behaviour and the riddle had become easy to read. She was a young lady whom a gentleman need no longer be at pains to respect.
'I have understood it since. She would have appreciated one's esteem.'
'Is that a modest way,' asked Mrs. Costello, 'of saying that she would have reciprocated one's affection?'
It does have some fine performances but the plot is pretty thin. The direction and editing is also a bit annoying at times, it rushes the story too fast forward. Interestingly enough Glenn Ford has the same effect on me as his and Hayworth's characters have on each other in this movie. There's something about him I really like, yet in another way he kind of pisses me off. Not sure why though.
tspdt 930 2014
actor: Glenn Ford as Johnny Farrell
character: Gilda Mundson Farrell by Rita Hayworth
Johnny Farrell is a gambling cheat who turns straight to work for an unsettling casino owner Ballin Mundson. But things take a turn for Johnny as his alluring ex-lover appears as Mundson's wife, and Mundson's machinations begin to unravel. - IMDB
I'd always wondered who the girl was on the poster in The Shawshank Redemption. Being the first picture that I've seen with Rita Hayworth in it, I now know why Andy Dufresne wanted her so desperately on his wall (apart from the other reason.)
That aside, having watched a fair few 40's Film-Noir of late, I can easily say that so far this is one of the better ones I've laid eyes on. It has everything the genre asks…
rita hayworth just awesome.in 1946,u cant expect this type of glamour from no other world nor in ur dream.
- 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
- The Captive
- Clouds of Sils Maria
- Goodbye to Language 3D
- The Homesman
Originally a list made prior to Cannes 2014.
This is every Palme d'Or nominee since the festival began in 1946.…