I told you... you know nothing about wickedness
A romantic drifter gets caught between a corrupt tycoon and his voluptuous wife.
A romantic drifter gets caught between a corrupt tycoon and his voluptuous wife.
Rita Hayworth Orson Welles Everett Sloane Glenn Anders Ted de Corsia Erskine Sanford Gus Schilling Lou Merrill Carl Frank Evelyn Ellis Harry Shannon William Alland Jessie Arnold Jack Baxley Steve Benton Wong Chung Eddie Coke Tom Coleman Al Eben Edythe Elliott John Elliott Charles Ferguson Joseph Granby Alvin Hammer Theresa Harris Maynard Holmes Tiny Jones Byron Kane Milton Kibbee Show All…
La dama de Shangai, I kyria ap' ti Sangai, La signora di Shanghai, Дамата от Шанхай, Kvinden fra Shanghai, De dame uit Shanghai, Nainen Shanghaista, Sanghayli Kadin, Die Lady von Shanghai, Dama z Szanghaju, A sanghaji asszony, Lady från Shanghai, A Dama de Shanghai, A Dama de Xangai, A Dama de Shangai, 상하이에서 온 여인
Kinda loved this? Funnier than I could have ever expected, Orson Welles’ Irish accent definitely wasn’t supposed to funny on purpose but it was enjoyable nonetheless. I think the discombobulating tone of it is very effective in creating the dreamy state it wants to put you in. A dream that turns more into a nightmare with every turn. What I’m saying is yeah I‘ll acknowledge it’s “messy” I think it’s controlled and captivating in the process.
Glenn Anders as Grigsby is nothing short of a great time, what a character. Yeah this rules!
as gorgeous, scandalous, and twisty as i'd hoped, much funnier than i ever could have expected. wild as hell. highlights: mirrors (duh), aquarium, hayworth hats, juror sneezing repeatedly for some reason, sweaty face close-ups, the second most harrowing shark monologue of all time delivered in one of the most irritating faux accents of all time.
the last 10 minutes redeemed this mess, but nothing can help me forget orson welles' weird irish accent that constantly disappears mid-sentence
The film’s plot is quite intense but this through the lens of Rita Hayworth and Ordon Welles’ marital troubles makes it all the more interesting. Hayworth is painted as the villain of the story, screwing over all the men in her life who love her. It’s been said he made her go blonde to take away the power of her signature red hair.
Welles’ direction feels so ahead of it’s time. Movies from the 40s didn’t tend to have camera angles this radical or long takes, or fast cutting the way he used it. This culminates in the funhouse sequence which is one of the most spectacular things I’ve ever seen from old Hollywood. Representing his distorted reality, the characters superimpose each other as their trying to parse out fact from fiction.
The plot line, especially in the middle drags a bit but watching Hayworth and the directing is enough to make this film worthy of its reputation.
A classic film noir that has it all - a tight script, great scenes on location, and the seductive and beautiful Rita Hayworth. Characterised by skewed camera angles, extreme close-ups, expressionist lighting, and breezy surrealism, Welles' film looks fabulous from start to finish, even when its storytelling makes little to no sense. The film's dreamy narrative is never dreary with a tone that becomes more comic even as it approaches tragedy, but the script juggles a sweet sense of humour with a sickening sense of over-complication, and the two don't always comfortably mix. Original in its complexity and a little unbelievable in its motivations, I was strongly invested throughout regardless of gaping plot conveniences, and there's no denying the quality of the film's audacious visual style. There was no one quite like Orson Welles, and it's a shame he had such a consistently difficult career. At least we can appreciate him now.
the dangers of falling in love with an optical illusion.
Arguably the best final 5 minutes of a film.
Performances : 7.2/10
Story : 9.3/10
Production : 7.7/10
Overall : 8.06/10
The Lady from Shanghaiis easily the worst Orson Welles production that I've seen. The camera work doesn't blow me away...which isn't necessarily fair, as it really is fine, I'm just used to so much more from Welles. The lighting doesn't quite work for the genre and the score was out of place. Also I didn't really love his performance as "black irish". The accent just seemed so awkward and forced. However, besides Citizen Kane this film is probably Orson Welles' best story. It twists around more than most Noirs dare to do and it features some of the most thrilling closing moments I've personally ever seen put to…
Blissfully nonsensical. A deconstruction of noir during its heyday. But you wouldn't expect anything less from the man who unofficially brought the genre's golden age to a close a decade later.
a powerful alchemical dream, a trickster ghost, ley line navigation, gnostic visions of hidden/forbidden places; "it's a bright, guilty world"
Decades Project: 1/4 of the 40's
"Everybody is somebody's fool."
Everyone loves a good puzzle. The anticipation while you put it together, the satisfaction once it's complete; it's great. Mysteries are like puzzles (duh), except you have to watch someone else put the pieces together. You never know if they're hiding extra pieces up their sleeve or throwing out pieces that don't fit or making a different puzzle altogether.
So here's the deal with The Lady from Shanghai: it's definitely a puzzle (duh), but Welles puts the pieces together so many times and in so many different ways that by the end of it all you're not sure if you've got the final picture or if the edges of the…
"I told you, you know nothing about wickedness."
Studio interference is a common theme among the pictures made by Welles after Citizen Kane. So many were troubled before, during and most especially after their productions. (Maybe they were just afraid of a man who was ahead of the studio game and ahead of his time.) Then boss of Columbia Pictures, Harry Cohn, famously told Orson after the film wrapped that he would never again hire one man to produce, direct and act because he could never fire him. That difficult relationship between them is probably the reason why he and Columbia cut Welles' film down from the original rough cut of 155 min to 87 minutes. As well, Welles having…
if i were orson welles i simply would not have left my devoted, slightly insane wife and therefore would not have made an unhinged movie about how i am coping badly with this decision
Half a star added for Orson Wells’s bad Irish accent. Half a star taken away for depicting California
"Of course killing you is killing myself. It's the same thing. But, you know, I'm pretty tired of both of us."
The shards of cinematic brilliance, scattered throughout like a mirror destroyed by a gunshot. A fever dream noir almost lost in translation yet still majestic in its effect. Maybe none of it is supposed to make sense. A bad memory, a twisted, painful love you're trying your best to forget. Or die trying.
This review may contain spoilers. I can handle the truth.
Depois de provar com O Estranho (1946) que podia fazer um filme “normal” se quisesse, Orson Welles retorna, aqui, ao gênero noir, escolhendo quase ao acaso um romance pulp e apresentado algo tão rico e estranho que estava fadado a desagradar Harry Cohn, diretor da Columbia. Ao simplesmente cortar a cabeleira que era a marca registrado de Rita Hayworth e tingi-la de louro, Welles desvalorizou deliberadamente uma propriedade do estúdio, que calhava de ser também sua ex-esposa. E isso se deu antes de ficar claro que ela não estava interpretando a beldade cativante de Gilda (1946), mas uma vilã tão cruel que até seu indisfarçável sex appeal se torna repulsivo.
Com um sotaque irlandês titubeante, Welles é um marinheiro contratado por…
The fact that this makes as much sense as it does, while simultaneously not really making any sense, is astonishing!
As far as positives go, Rita Hayworth is great. She brings just the right amount of vague danger and captivating beauty to her character. The hall of mirrors sequence at the end as well, is also a highlight and is just absolutely magnificent.
As for some glaring negatives, Welles Irish brogue feels humorously off at times and the hole-ridden, often scattered script, driven by a rambling voiceover is really not the best.
Even though it struggles to find a balance between its lesser and greater aspects, I still think that “The Lady From Shanghai” is a great film. Somehow it finds a stride in its rough persuasion and it successfully accomplishes the feat of being both an ambitious and highly entertaining piece of cinema.
oh. My. GOD. ORSON YOU FUCKING LEGEND!
First of all I was NOT prepared for that accent but I loved it, second of all Rita Hayworth is literally the height of glamour and I am unbelievably jealous.
this was delirious and hilarious and SO mysterious - I loved that I had no idea what happening half of the time.
above all this film was just gorgeous and I was sitting watching in awe of some of the shots, like literally jaw on the floor.
somehow Orson continues to outdo himself, and I adore him for that
The film's murder plot is kind of confusing but overall it was a great thrill of a ride
girls stink. they stink. they’re evil, and they’re all bad. all of them. they’re backstabbers
The ending was very impressive technically, and it was a solid throwback, noir story with good acting and fun zingers / retorts.
Orason wells creeps me out.
Better than I expected. Also some brilliant shots with mirrors.
Absolutely over the top, with that ridiculous Irish accent and wild, dream-like logic.
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