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…
Die Lady von Shanghai, De dame uit Shanghai, Дамата от Шанхай, A Dama de Shangai, A Dama de Shanghai, A Dama de Xangai, Kvinden fra Shanghai, La dama de Shangai, Nainen Shanghaista, I kyria ap' ti Sangai, A sanghaji asszony, La signora di Shanghai, 상하이에서 온 여인, Dama z Szanghaju, Lady från Shanghai, Sanghayli Kadin
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.
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…
the last 10 minutes redeemed this mess, but nothing can help me forget orson welles' weird irish accent that constantly disappears mid-sentence
The fact that I don’t hate this despite Orson Welles’ mockery of an Irish brogue and that nonsensically labyrinth plot says it all. Though I’m not as far off it as I’d like to be. It is frustrating as it’s films like this that give the Noir a bad name. There’s an art to the convolution. There’s value to be had even when they’re nigh-on indecipherable. Hell, I love The Big Sleep. But there has to be some semblance of interesting character or at least, mood bubbling under the surface to fall back on.
I was keen for more Rita Hayworth after her emblematic, eponymous performance in Gilda left an impression. Which was the right call really, as she’s far and…
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…
"Personally, I don't like a girlfriend to have a husband." - Michael,
- Scavenger Hunt #52: boxd.it/3kIS0
Task 14. A film where the director is also a heavily featured actor. (15/31)
Love really will make you do some crazy things. One time I read a fiction book to impress a girl... A WHOLE BOOK!!!!
I've only seen three Orson Welles films and man this guy thinks he can do anything... and so far he is right. In The Lady from Shanghai, an Irish sailor (Welles) flirts with a pretty young woman before being asked to work on her husband's yacht. A noir tale of evil seduction, class conflict, deception, and double-crossing ensues and it is fucking awesome. Rita Hayworth and…
a powerful alchemical dream: a trickster ghost, ley line navigation, gnostic visions of hidden/forbidden places - "it's a bright, guilty world"
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.
All those action films really did make my brain melt because The Lady Of Shanghai really made no sense at all.
This is especially telling in the last 10 minutes of the film where Orson Welles sums up in a voiceover what certain characters were really up to - and it actually makes the film even harder to understand! The thing is with Mr. Welles is that I'm not sure you could trust him as far as you could throw him because he did have previous form for being somewhat tricksy with his work.
So it's my contention that he deliberately made The Lady From Shanghai a dizzying experience that probably was not supposed to make all that much sense.…
“Like the sharks, mad with their own blood, chewin' away at their own selves.”
As far as deeper ideas go, I think this one works better in short bursts than it does as a whole but those ideas are surrounded by such excellent dialogue and scenery that I couldn’t care less how inconsistent the thematic groundwork is overall. Welles is great both behind the camera and in front of it, and the cinematography is often impressive.
Another touchstone in Orson Welles' career of films that shouldn't have bombed, but did anyway, leading him down the path of being Orson Welles---this film is notable for being a genuinely bizarre noir, applying Welles' love of angles, his sense of the world as a ridiculous stage, his sideways close ups and sorrow at the emptiness of life to the overstuffed murder mystery plot of the source material--the end result being a movie that feels almost too fast, and too slow, and when you pile his bizarre Irish accent on top of it, it becomes genuinely disorienting---so I can understand people who don't really dig this, but I find it remarkably effective, both at the way it builds to an…
“Everybody is somebody's fool.”
Es, relativamente, lo más clásico que produjo Welles. Y aún así resulta enrrebesado y confuso de una manera magistral.
Sus personajes ambiguos y confusos, son completamente empatucos y relacionales, nunca te dejan indiferentes.
Welles muestra como siempre su influencia expresionista llevándola al extremo en sus escenas finales, visualmente hermosa y simbólicamente potentes.
Tal ves necesite de más de una vista para ser entendida en su totalidad. Y qué bueno ya que es un placer de ver
Welles’ Irish accent is a bit sketchy, but not enough to bemoan too much. He covers so much ground in so little time, and with his inventive camera techniques he’s clearly the ideal vessel for noir. The famous hall of mirrors scene is an all timer.
What a bizarre noir. It kind of makes sense if you squint at it, but the characters are too tangled and opaque and contradictory.
I am reminded of a remark about Double Indemnity, how in an ideal noir the lead male should always be a bit of a fool, not as far ahead as he thinks he is. Welles writes his character as too savvy, a little too capable, and then it all gets jumbled in the middle when it should be going like a rocket.
But what an ending!
This review may contain spoilers. I can handle the truth.
There are some really great things about The Lady from Shanghai -- that Hall of Mirrors finale, the lines about "sharks eating their own," Rita Hayworth -- but the film is a bit all over the place in tone and quality. For every Hayworth performance that is mannered and well-calibrated, there's one like Glenn Anders that is so out-of-place in its lunacy that I can't quite tell what writer-director Orson Welles was going for. Narratively, it's a bit of a mess and yet even with its faults, I couldn't pull myself away. The mysterious noir aspect works in its favor despite the fact that we know that in the end -- what with the typical noir characteristics being what they…
Welles' brogue is so annoying.
“I already told your wife. I never make up my mind about anything at all until it’s over and done with.”
Incredible carnival sequence.
Suspenseful film noir about an Irish seaman (Orson Welles) who finds himself implicated in a murder plot after getting hired to work on a yacht owned by a disabled defense attorney (Everette Sloane) and his estranged wife (Rita Hayworth). Welles, despite a questionable accent, gives a terrific performance as the ultimate film noir sucker. A man who thinks he's tough and has it all under control but is in fact doomed the minute he becomes involved with the quintessential femme fatale as played to perfection by Hayworth in a deceptively complex performance. Hayworth is certainly stunningly beautiful but it isn't her looks along which entraps Welles. There are many layers to her character and Hayworth brings them to life in…
I fucking love movies like this
Wherein Orson Welles casts himself opposite his real-life estranged wife, where he is smarter than everyone, gives speeches every five minutes, and can’t figure out how to speak in an Irish accent (which isn’t even an important part of the character??), and where she is a beautiful but cold and maybe crazy woman who fools him into trusting her until selling him out at the last minute, but don’t worry, he learns his lesson and manages to escape her, certain in the knowledge that he is, in fact, smarter than everyone
Orson Welles said ACAB AGAIN!!!!
Mystery, absurdism, and pure comedy are all baked into this entrancing work of film noir, leading up to a final sequence that has earned every bit of its highly esteemed reputation. It's impossible too watch Orson Welles' films without thinking about the way they've molded everything about cinema since, and still his best scenes and moments are beyond replicable. The courtroom scene is simply hysterical. I've often thought of Welles as a master craftsmen (a reputation he is deserving of) but it is outstanding to me how forward-thinking and innovating he was as well.
The Welles performance and the Irish accent are weird and take a bit of time to get used to, but his…
I understand that the studio butchered the movie, but I have to judge it as it is. And as it is, it’s a mess. Orson Welles’ Irish accent is dreadful.
But let’s not be entirely negative. Rita Hayworth is fantastic and the ending at the carnival is intensely cool.
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