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

3.25/5

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.

full discussion on episode 148 of my podcast SLEAZOIDS.

Arguably the best final 5 minutes of a film.

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"

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.

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.
Loved it