Gilda
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Movie Reviews of Gilda
Movie Review: "Maybe That Stands for Something"
Summary: 5 Stars
Rita Hayworth went down in Hollywood history as the Love Goddess. Her title role in *Gilda* (Columbia Pictures, 1946) leaves no doubt why. Yet here she is much more than a sex symbol. For one thing, Rita was a seriously talented actress. For another, she was one of the best dancers in films. To this day her performance in *Gilda* remains unrivaled as a combo of talent, sensuality, sensitivity, and sheer drop-dead pulchritude. Columbia's catchy ad-phrase for the film was, "There never was a woman like Gilda." You'd better believe it. Glenn Ford perfectly fills out the character of Johnny Farrel, the young gambler who hates to love femme fatale Gilda. In return, Gilda loves to hate Johnny. George MacReady offers an outstanding performance as murderous Ballin Mundson, the man Gilda fears.If you like movies that challenge the viewer to figure out hidden meanings, then *Gilda* is for you. "Maybe that stands for something," Rita-as-Gilda says near the beginning; "Maybe that means something," she says near the end. Halfway through she says, "Any psychiatrist would say that means something." The question of interpretation hangs over the entire film, loaded as it is with symbolism and double-entendres.
On the other hand, you can ignore the subtext and enjoy *Gilda* as a noirish romantic mystery-thriller. It's a beautiful flick to look at in black and white, and it's never boring, even all the decades since it was made. Some reviewers say the plot is difficult to follow. I don't agree; the story is both logical and economical. But that may be because I understand *Gilda* to be a dramatized introduction to the psychological concepts of C.G. Jung. Never mind. If you like your movies to be just movies, *Gilda* tastefully blends ingredients from *Casablanca*, *The Maltese Falcon*, *Notorious* and *The Big Sleep*, then stirs in its own original sauce. In my opinion, it's an improvement upon those classics, as fine as they are by themselves.
I wouldn't call *Gilda* a true film noir, for the reason that at the end the male and female leads are triumphant instead of tormented. Great films of the 1940s that had real "noir" (black) denouements are *Criss Cross*, *Detour*, *Double Indemnity*, *Scarlet Street*, *The Killers* and *The Postman Always Rings Twice*. Still, on their way to a happy ending Johnny and Gilda pass through a landscape that is darker and more suggestive of spiritual abandonment than most '40s film noirs dared explore. At the same time, because of the intense chemistry between the leads, *Gilda* sizzles hotter than any film of that period I can think of.
Love the music too. Five stars. They just don't make 'em like this any more.
Movie Review: "Maybe That Stands for Something"
Summary: 5 Stars
Rita Hayworth went down in Hollywood history as the Love Goddess. Her title role in *Gilda* (Columbia Pictures, 1946) leaves no doubt why. Yet here she is much more than a sex symbol. For one thing, Rita was a seriously talented actress. For another, she was one of the best dancers in films. To this day her performance in *Gilda* remains unrivaled as a combo of skill, sensuality, sensitivity, and sheer drop-dead pulchritude. Columbia's catchy ad-phrase for the film was, "There never was a woman like Gilda." You'd better believe it. Glenn Ford perfectly fills out the character of Johnny Farrel, the young gambler who hates to love femme fatale Gilda. In return, Gilda loves to hate Johnny. George MacReady offers an outstanding performance as murderous Ballin Mundson, the man Gilda fears.If you like movies that challenge the viewer to figure out hidden meanings, then *Gilda* is for you. "Maybe that stands for something," Rita-as-Gilda says near the beginning; "Maybe that means something," she says near the end. Halfway through she says, "Any psychiatrist would say that means something." The question of interpretation hangs over the entire film, loaded as it is with symbolism and double-entendres.
On the other hand, you can ignore the subtext and enjoy *Gilda* as a noirish romantic mystery-thriller. It's a beautiful flick to look at in black and white, and it's never boring, even all the decades since it was made. Some reviewers say the plot is difficult to follow. I don't agree; the story is both logical and economical. But that may be because I understand *Gilda* to be a dramatized introduction to the psychological concepts of C.G. Jung. Never mind. If you like your movies to be just movies, *Gilda* tastefully blends ingredients from *Casablanca*, *The Maltese Falcon*, *Notorious* and *The Big Sleep*, then stirs in its own original sauce. In my opinion, it's an improvement upon those classics, as fine as they are by themselves.
I wouldn't call *Gilda* a true film noir, for the reason that at the end the male and female leads are triumphant instead of tormented. Great films of the 1940s that had real "noir" (black) denouements are *Criss Cross*, *Detour*, *Double Indemnity*, *Scarlet Street*, *The Killers* and *The Postman Always Rings Twice*. Still, on their way to a happy ending Johnny and Gilda pass through a landscape that is darker and more suggestive of spiritual abandonment than most '40s film noirs dared explore. At the same time, because of the intense chemistry between the leads, *Gilda* sizzles hotter than any film of that period I can think of.
Love the music too. Five stars. They just don't make 'em like this any more.
Movie Review: The most magnificently vicious love triangle in film history
Summary: 5 Stars
This film is rightly celebrated as Rita Hayworth's greatest film. Certainly, it contains her most famous visual moment, and what is probably one of the most famous images in the history of film. People recognize this shot, even if they have never seen GILDA. George Maccready is escorting his right hand man Glenn Ford up the staircase of his mansion, telling him about his new bride. As they reach the top of the stairs, he calls out to his wife, "Gilda, are you decent?" The camera jumps into the dressing room, to a tight close up of a woman with her hair thrown forward so she can brush it out. Gilda dips her head, throws back her hair, reveals her beautiful face, and almost mockingly replies, "Who, me?" The way she responds, we instantly know that we are dealing with a thoroughly bad woman.Make no mistake about it: this film is about people doing inconceivably nasty things to one another. Gilda isn't so much a loose woman as she is a woman intent on revenge. She has married Maccready because she learned that his right hand man was in fact her former lover. In fact, the man she still loved, but who had treated her badly. So, she marries him to enact her revenge on her ex. And that is just the beginning of the nastiness that people inflict on one another in this film.
There are so many stunning moments in the film. There is, of course, her rendition of "Put the Blame on Mame." There is an unbelievable strip scene which is not merely one of the sexiest scenes in the history of film but one of the least revealing, for, in the end, her "strip" consists of removing a single glove.
The narrative of the film breaks down a bit near the end of the film, keeping the movie just short of complete perfection. But that really isn't all that bad, since this film is mainly a study in the dynamics between three people. And thanks to Hayworth, Ford, and Maccready, that love triangle is, at every point, a thing of extreme fascination. Special mention should also be made of the excellent supporting role played by the Joseph Calleia, as the police detective.
The great irony of the film is that while it was Hayworth's greatest triumph, it was also the last truly great film in her career. Although she was excellent in A LADY FROM SHANGHAI just a couple of years after this one, virtually all her best roles came before GILDA. But even if she made no other films than this one, GILDA alone was enough to guarantee that she would always be remembered as one of the most beautiful and sensual actresses in the movies.
Movie Review: Scorching - As In Hot!!!
Summary: 5 Stars
The first film I ever saw starring Rita Hayworth and Glenn Ford, this 40s noir gem is just too hot and steamy for words!! Sure, the Production Code at the time prohibited any graphic or blatant sexual references, but the performances and innuendo more than make up for it.
The rich black and white cinematography, wonderfully constructed sets, and Rita's dance numbers, as if that's not enough to take one's breath away. The strong, sensual heat generated between Hayworth and Ford is guaranteed to make you very hot beneath your collar. Was there ever a better portrayal of a sizzling love/hate entanglement?
There is a hinted homosexual undertone in the relationship between sinister casino owner Ballin Mundson (George Macready) and his right-hand, Johnny Farrell (Ford), but as soon as Ballin's provocative new wife, Gilda (Hayworth) arrives on the scene, that pretty much goes out the window. The priceless expression on Johnny's face when he discovers that Mundson's bride and his ex-lover are one and the same (amid the famous hair-toss), is a moment that just cannot be beat. Ballin becomes all the more evil and controlling, at first only to Gilda (sensing that she and Johnny knew each other before), but then his bizarre business dealings and plans begin to unravel, leading to a great plot-twist.
Gilda succeeds in arousing Johnny's jealousy through her flirtations with other men, while he tries to keep her supposedly "indecent" behavior from the boss. As much as he claims to despise her, it is obvious that neither one have gotten over the hurt of their "past association". When Johnny has the opportunity to punish her for what he believes to be her sinful behavior, the sparks between them go up another notch. Those slaps that they inflict on each other (love hurts!), and of course, Hayworth's famous "Put The Blame On Mame" mock striptease (dubbed by Anita Ellis) - that one will linger in your head for a long, long time. And that silky black dress - I think I speak for all of the viewing females when I say, I want that dress!!!
With its subtly suggestive dialogue, magnificent performances and the gorgeous stars (who were close lifelong confidantes), "Gilda" is definitely deserving of its place in cinematic history.
It would be nice to see "Affair In Trinidad" (1952) and "The Lady In Question" (1940), both of which paired Hayworth and Ford to have DVD releases. There's just not enough of their powerful chemistry to go around!!!
Movie Review: Put the blame on who?
Summary: 5 Stars
In Gilda we find several dramatic intersections that overpass by far, the simple title of Film Noir. It has many characteristics of this genre but it goes far beyond. Johnny Farrell (Glenn Ford) is an ever looser who suddenly finds the great chance of his life cleaning out in a Buenos Aires waterfront diver. Rescued by Ballin Mudson (George Mac Ready) from a thug that intends him to rob. Finally the expected codes of loyalty and friendship are established.
The presence of the alluring and seductive Gilda (Rita Hayworth)not only will ignite the screen, but will constitute a true turning-point to Johnny due they were lovers in other times.
The game of domination will be exerted by Mundson when he knows about the relation and Ballin will make use of this fact to domain each.
On the other hand will make the best she can and through her erotic artifices and suggesting voice will intend to take revenge and make suffer both men.
Johnny will marry Gilda when Ballin suffers a serious accident crash and then reappears to establish the ancient state of things.
As you see this is an intriguing puzzle that combines cleverly betray, greed, wounded self stem, jealous feelings, and hidden emotions. Nothing is innocent and no happiness is free. You've got to pay a prize no matter how high can be. Dark game of shadowy manipulations so typical of the low depths.
A true masterpiece that has overcome its own times to become not only a status cult movie but a sublime and well positioned classic, maintaining its actuality and freshness despite having elapsed sixty years.
All the cast was splendid. Masterful direction of Charles Vidor.