Gilda (1946)

Director:

Charles Vidor

Writers:

E.A. Ellington (story)
Marion Parsonnet (screenplay)

Release Date:

15 March 1946 (USA)

Genre:

Drama | Film-Noir | Romance | Thriller

Tagline:

"I was true to one man once... and look what happened..."

Plot:

The sinister boss of a South American casino finds that his right-hand man Johnny and his sensuous new wife Gilda already know each other.

Plot Keywords:

Gambler | Casino | Argentina | Hate | Missing Person

Cast

Rita Hayworth	...	Gilda Mundson Farrell
Glenn Ford	...	Johnny Farrell / Narrator
George Macready	...	Ballin Mundson
Joseph Calleia	...	Det. Maurice Obregon
Steven Geray	...	Uncle Pio
Joe Sawyer	...	Casey
Gerald Mohr	...	Capt. Delgado
Mark Roberts	...	Gabe Evans (as Robert Scott)
Ludwig Donath	...	German Cartel Member
Donald Douglas	...	Thomas Langford (as Don Douglas)
Lionel Royce	...	German
Saul Martell	...	Little man (as S.Z. Martel)
George J. Lewis	...	Huerta
Rosa Rey	...	Maria

Runtime:

110 min

Country:

USA

Language:

English | Spanish | French | German

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Mirrophonic Recording)

Certification:

USA:Approved (PCA #11425) | Finland:K-12 (1984) | Finland:K-16 (1947) (1959) | West Germany:12 (old rating: 16) | Argentina:13 | Australia:PG | Canada:PG (video rating) | Spain:18 | Sweden:15 | UK:PG

Company:

Columbia Pictures Corporation

Trivia:

There is a rumor that this film is the only time you hear Rita Hayworth's real singing voice but it is sadly not true. According to the bonus features from the DVD, Rita actually never recorded her own singing voice and was a talented lip-syncher.

Goofs:

Factual errors: The New York Blizzard that Gilda sings of, actually happened two years later in 1888.

Quotes:

Gilda: I danced in America.
Obregon: This is not America?

Movie Connections:

Referenced in Más que amor, frenesí (1996)

Soundtrack:

Put the Blame on Mame

Red Hot Rita in Complex Film Noir Gem

Rita Hayworth positively sizzles as Gilda in this film-noir classic. From her initial hair-tossing scene to her near striptease while she sings "Put the Blame on Mame," Hayworth is captivating and more than convincing as the object of every man's desires. However, beyond the overtly heterosexual lures of Ms. Hayworth lurks a complex and ambiguous romantic triangle that provides more intrigue than the surface plot, which involves a gambling casino that is a front for shady operations that originated in a recently defeated, Fascist country.

Hayworth may either be the intruding wedge that comes between Glenn Ford and George Macready or the object of both men's romantic interests. From the initial meeting between Ford as two-bit gambler Johnny Farrell and Macready as Ballin Mundson the casino owner, an ambiguous, possibly homo-erotic, attraction is established between the two men. The lingering looks that they exchange can be read in several ways, but Bogie never looked into Cagney's eyes like Ford looks into Macready's. After Ford begins to work for Macready, his devoted care and slavish attention to his boss's needs exceed the bounds of employee and employer. When Hayworth moves into Macready's home as his new wife, Ford returns the key to the house as though he were a jilted lover. Ford's increasing jealousy becomes apparent after Hayworth's arrival on the scene, but it is unclear of whom he is jealous, Hayworth or Macready or possibly both. Perhaps Ford's character is as unsure of his own feelings as is the viewer, which makes the ambiguity even more intriguing. Macready's jealousy also grows as the heat between Ford and Hayworth intensifies, but, again, it is ambiguous of whom he is jealous.

With a dazzling performance by Hayworth, excellent black-and-white photography by Rudoph Mate, fine direction by Charles Vidor, and layers of psychological possibilities to ponder, "Gilda" is as golden as its title suggests.