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…
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.
Sometimes a cigar is just a cigar. This is not one of those times. It's hard to actually call this film's subtext 'sub.' It's pretty much straight-up text. A young punk, played with sleazy, petulant glee by Glenn Ford and an effete European money-man played by George Macready clearly get wrapped up in a romantic relationship. Things get complicated and sordid when a torch singer played by Rita Hayworth shows up. Love, hate, sex, and some Nazis get blended up in this whirlwind of double-crosses and naughtiness. Bad people being really bad to each other in the most delicious of ways. I can't get past Ford's sick little grin, like when Ralph Meeker is crushing a guy's fingers in a…
One of the most memorable and astonishing performances by an actress of all time. Unapologetically recommended. Rita Hayworth herself lamented the film, saying, "Men went to bed with Gilda but woke up with me." Her finest work...and something so good and well-made, you'd swear it was by King Vidor and not by Charles...
put the blame on mame is stuck in my head but thank god it's in rita hayworth's voice.
there never was a woman like gilda indeed.
This film has a lot of really whip-smart dialogue. It's very playful at times, such as this scene with Johnny and Ballin:
BALLIN: Johnny. I've been looking for you.
JOHNNY: Gambling is illegal in Argentina. Is that right?
BALLIN: It isn't right, but it's true.
JOHNNY: That the reason for the payoff?
[Johnny nods toward casino patron he suspected of cheating, who is leaving with a wad of cash]
BALLIN: Naturally that's the reason.
JOHNNY: Then why doesn't it show on the books? Why doesn't it come out of my cut?
BALLIN: You're in my complete confidence, Johnny. You may ask any questions you…
Blu-ray • 1.33:1 • B&W
Gilda is quintessential noir, but don't take that as a compliment. The film follows Johnny Farrell (Glenn Ford) as he becomes the right-hand man of Ballin Mundson, a slimy Buenos Aires casino owner. Everything's looking up, until he bumps into Gilda (Rita Hayworth), his old flame, now Ballin's wife. Just his luck. For a Casablanca ripoff, it's not a bad set-up. But the film is a mess, with a plot that's equal parts convoluted and sexist. That's noir for you. So forget the plot and let Rita Hayworth take charge, electrifying an otherwise dull affair with one of the all-time great star performances. Among the highlights for me are the dancing scene at the costume party, "Put the Blame on…
1946. Directed by Charles Vidor.
"I hate you so much that I would destroy myself to take you down with me."
Rita Hayworth's most iconic performance, Gilda is a film that oozes unrepentant sexuality. Featuring jaw dropping musical sequences and vicious conversational exchanges, Gilda is an atmospheric noir classic. Endlessly debated due to its convoluted treatment of feminism and sexual politics, Vidor's blazing melodrama is a fascinating deconstruction of female empowerment. .
Farell is a card shark who gains the loyalty of a deadly businessman. Soon after his employment, he crosses paths with the gangster's new wife, Gilda, an old flame. The two scorned lovers spend their time wounding one another whenever possible, denying their karmic attraction until it…
Not a "great" film, but it made me to really love the Classical Hollywood Cinema which many canons failed. It perfectly captures the glamour of Classical Hollywood Cinema and Rita Hayworth. Beautiful movie.
UPDATED: September 30, 2016
The Criterion Collection is a video distribution company that sells "important classic and contemporary films" in…
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…