Gilda Film Noir

[Algernon Alcala]

Thefilm is known for cinematographer Rudolph Mat's lush photography, costume designer Jean Louis's wardrobe for Hayworth (particularly for the dance numbers), and choreographer Jack Cole's staging of "Put the Blame on Mame" and "Amado Mio", sung by Anita Ellis. Over the years Gilda has gained cult classic status.[2][3][4] In 2013, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically or aesthetically significant".[5][6][7]

Johnny Farrell, an American newly arrived in Buenos Aires, Argentina, wins a lot of money cheating at craps. He is rescued from a robbery attempt by a complete stranger, Ballin Mundson. Although Farrell is warned not to cheat at an illegal high-class casino he tells him about, he ignores his advice. After winning at blackjack, he is taken to see the casino's owner, who turns out to be Mundson. Farrell talks him into hiring him and soon becomes Mundson's trusted casino manager.

Mundson returns from a trip and announces he has an extremely beautiful new wife, Gilda, whom he has married after only knowing her for a day. Johnny and she instantly recognise each other from the past, though both deny it when he questions them. Mundson assigns Farrell to watch over Gilda. The pair are consumed with hatred for each other, and she cavorts with men at all hours in increasingly more blatant efforts to enrage Johnny, and in return he grows more spiteful towards her.

Mundson is visited by two German mobsters. Their organisation had financed a tungsten cartel, with everything put in Mundson's name in order to hide their connection to it. They have decided that it is safe to take over the cartel now that World War II has ended, but Mundson refuses to transfer ownership.

The Argentinian police are suspicious of the Germans and assign agent Obregn to try to obtain information from Farrell, but he knows nothing about this aspect of Mundson's operations. The Germans return to the casino during a carnival celebration, and Mundson ends up deliberately shooting and killing one of them..

Farrell rushes to take Gilda to safety. Alone in Mundson's house, they have another confrontation and, after declaring their undying hatred for each other, passionately kiss. After hearing the front door slam, they realise Mundson has overheard them, and a guilt-ridden Farrell pursues him to a waiting private airplane. The plane explodes in midair and plummets into the ocean. Mundson parachutes to safety. Farrell, unaware of this, concludes that he is dead.

Gilda inherits his estate. Farrell and she immediately marry, but unknown to her Johnny is marrying her to punish her for her betrayal of Mundson, which is hypocritical, since he also betrayed Mundson's trust. He abandons her, but has her followed day and night by his men to torment her. Gilda tries to escape the tortured marriage a number of times, but Farrell thwarts every attempt.

Obregn confiscates the casino and informs Farrell that Gilda was never truly unfaithful to Mundson or to him, prompting Farrell to try to reconcile with her. At that moment, Mundson reappears, revealing his faked suicide. He tries to kill both Gilda and Farrell, but bartender Uncle Po fatally stabs him in the back. When Obregn arrives, Johnny tries to take the blame for the murder, but Obregn points out that since Mundson was already declared legally dead he can't arrest him.

Gilda was developed by producer Virginia Van Upp as a vehicle for Hayworth, who had mostly been known for her roles in musical comedies at that time.[10] The story was originally set to be an American gangster film directed by Edmund Goulding.[11] However, the location of story was changed to Buenos Aires after objections from censor Joseph Breen and the replacement of Goulding with Charles Vidor.[11]

Gilda was filmed from September 4 to December 10, 1945.[10][11] During filming, Hayworth and Ford began an extensive affair that would last until Hayworth was diagnosed with Alzheimer's disease in the early 1980s.[12][13][14][15]

Gilda was screened in competition at the 1946 Cannes Film Festival, the first time the festival was held.[18] In its release, the film earned theatrical rentals of $3,750,000 in the United States and Canada,[19] and $6 million worldwide.[1]

In retrospect, the film has become critically acclaimed. Review aggregator Rotten Tomatoes reported that 90% of critics gave the film a positive review, based on 67 reviews.[20] More recently, film critic Emanuel Levy wrote a positive review: "Featuring Rita Hayworth in her best-known performance, Gilda, released just after the end of WWII, draws much of its peculiar power from its mixture of genres and the way its characters interact with each other ... Gilda was a cross between a hardcore noir adventure of the 1940s and the cycle of 'women's pictures.' Imbued with a modern perspective, the film is quite remarkable in the way it deals with sexual issues."[21] The A.V. Club said "Part of Gilda's fascination is the way that it complicates the idea of the femme fatale. (...) Hayworth plays Gilda with a layer of bravado that masks deep insecurity" but mentioned that the unusual happy ending for a noir almost ruined the film experience.[22]

Attesting to its immediate success, it was widely reported that an atomic bomb to be tested at Bikini Atoll in the Marshall Islands would bear the film's title above an image of Hayworth, a reference to her bombshell status. The bomb was decorated with a photograph of Hayworth cut from the June 1946 issue of Esquire magazine; above it was stenciled the device's nickname, "Gilda", in two-inch black letters.[23]

In January 2016 The Criterion Collection released DVD and Blu-ray Disc versions of Gilda, featuring a new 2K digital film restoration, with uncompressed monaural soundtrack on the Blu-ray version.[28]

Hayworth's performance as Gilda lent itself to the Stephen King novella Rita Hayworth and Shawshank Redemption in the form of a poster hanging on the wall of prisoner Andy Dufresne. In the novella's film adaption, the film is shown to the prisoners for movie night. The film has also been watched by characters in Hero, Girl, Interrupted, and The Thirteenth Floor, as well as episodes of Joan of Arcadia and The Blacklist.

The film has been shown on Turner Classic Movies at the request of guest hosts several times. In 2015, actress Diahann Carroll chose the film and expressed admiration for Hayworth and her performance in the film.[29] Guest hosts Joan Collins and Debra Winger have also chosen and discussed the film.

I love Gilda. It was the film that inspired me to color my hair red. My Rita Hayworth phase.

Film Noir is fascinating, especially given the social context (with the men away at war, primary filmgoing audience was mostly women) during which it developed.

I thought Brick did a good job playing with the genre, and the author/director did so mostly by studying Dashiell Hammett.

Over the years there has been many debates whether or not Noir is a 'style' or a 'genre'. I've always sided with the genre (or sub genre) as it does adhere to certain principle story elements. One book I've read points to 'Double Indemnity' as being a film that really defines the genre.

Love Scarlett Street as well! (Fritz Lang and Edward G)

I've always thought of Film Noirs as modern tragedies. They contain modern issues & backdrops, but in the end, the "hero" fails.

I have one Noir idea set in Miami where the protag is a woman who gets involved with a shady club owner. In the end it's revealed that he's actually a good guy & she brings about his downfall. She's a femme fatale who doesn't know she's a femme fatale.

It's going to be a good experiment to see if i can pull that off.

My husband was just watching SHAWSHANK were there's a clip from GILDA. He studied GILDA in film school & mentions it from time to time. I think I'll get him a copy.

:-)

Christina - Touch of Evil, baby! One of my favs!

Laura - I liked Gilda quite a bit, but the happy ending felt a bit contrived. Apparently, that was never the intention of the filmmakers and were overruled by the producer who was afraid a tragic ending wouldn't sell. How things never change. But in the context of this story, the only appropriate ending is a tragedy. They were headed for a great big downfall. I do love Hammett. He's got a lot of subtext in the dialogue of his books, which I really loved.

Mark - Scarlet Street, baby! You gotta love Edward G. "The Woman in the Window" was pretty great, too. He gets totally suckered by Joan Bennett. I love that film.

Laura - You're right. They are modern tragedies. Those stories can never end happily. Love the idea. I'm working on a noir, too.

It's funny...I had forgotten that the ending was happy. It's been years since I've seen it, and I guess I'd already seen the "right" ending in my head so clearly that it's the one I remember.

(I do this with novels, and am often surprised on re-reading them that entire chapters of the book are not actually in the book.)

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Much of the remainder of the film is Johnny and Gilda battling it out, loving and hating with equal fervor, even after Ballin is killed and they can get married. Johnny proves the far superior sadist, however, wedding but ignoring the wife who is prepared to forgive and forget. The misery he causes her is palpable and leads her to leave him, but Johnny has her followed, even planting a spy to seduce and promise to help Gilda get a divorce then return her to a miserable yet still vicious Johnny.

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