All the films from all the editions, including those subsequently removed, presently totalling 1187. 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…
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).
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.
Johnny is garbage and Gilda is a masochist.
when gilda is offscreen: 😴👎🏽😴
when gilda is onscreen: 😊🎉😊
when gilda is dancing: 😍❤️😍
"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…
Johnny is garbage and Gilda is a masochist.
Stunning. As a long time Rita Hayworth fan I can't believe I waited so long to see this. Rita is smoldering, her voice is like a bird, and man can she move. I could easily watch her on screen for hours. The plot is simple: Johnny walks out on Gilda only to discover she's moved to same town and has married Johnny's new boss Ballin. The tension between Gilda and Johnny is palpable. Coupled with lush cinematography, dynamic performances, and gorgeous costumes this has quickly become one of my all time favorite movies.
"Oh, I'm sorry. Johnny is such a hard name to remember and so easy to forget."
The first two acts are electric, and it was starting to feel like one of the many high points within the Noir genre, but the last act lost a lot of momentum for me. Still, Hayworth as Gilda is one of the best femme fatales ever, and the chemistry between her and Ford is undeniable from their first scene together. I loved every interaction they had, that is up until the final few scenes which felt so out of left field and like something the studio had Vidor tack on at the last minute. No way, at least in my opinion, that these characters should have ended like that. There's so much to like in the characters and the mystery though. The mystery coming from the way the characters interact and hold emotions back rather than the plot was fantastic.
It is easy to just enjoy the gorgeous sight of Rita Hayworth exhaling beauty and sensuality, but let's not overlook how stupid, implausible and misogynist this film really is, painting Gilda as a mischievous femme fatale when in fact she is a victim in the hands of two hideous men.
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prof joe's queer subtext theory made this movie so much more interesting.
Will write a proper review, but this film is so tantalising and interesting that it is both real and incomprehensible. It is hard to talk about it without spoiling it, but it is truly special.
Re-watching to catch the Criterion commentary.
This review may contain spoilers. I can handle the truth.
Brilliant picture that would have had a real shot at my top 100 if not for that ending. I mean, this film was absolutely NOT meant to have a happy ending. What were they thinking? Johnny and Gilda are supposed to do what now, exactly? Go off and have a happy life? Those two lost, vicious, desperate people are gonna just settle down?
That ending, man, it's like making Titanic and then having it end with the iceberg looming in the background. All the real drama happens after the credits roll, and it's gonna be messy.
UPDATED: December 4, 2016
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