A private eye escapes his past to run a gas station in a small town, but his past catches up with him. Now he must return to the big city world of danger, corruption, double crosses and duplicitous dames.
A writer meets a young socialite on board a train. The two fall in love and are married soon after, but her obsessive love for him threatens to be the undoing of both them and everyone else around them.
Just arrived in Argentina, small-time crooked gambler Johnny Farrell is saved from a gunman by sinister Ballin Mundson, who later makes Johnny his right-hand man. But their friendship based on mutual lack of scruples is strained when Mundson returns from a trip with a wife: the supremely desirable Gilda, whom Johnny once knew and learned to hate. The relationship of Johnny and Gilda, a battlefield of warring emotions, becomes even more bizarre after Mundson disappears... Written by
Rod Crawford <firstname.lastname@example.org>
When Gilda is brought back to Argentina by Tom, she slaps Johnny hard across both sides of his face. In reality, Rita Hayworth's smacks broke two of Glenn Ford's teeth. He held his place until the take was finished. See more »
At the airport scene, you can see hills in the background. In fact, the Buenos Aires' area is totally flat. See more »
To me a dollar was a dollar in any language. It was my first night in the Argentine and I didn't know much about the local citizens, but I knew about American sailors, and I knew I better get out of there.
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The 40s and 50s produced many alluring performances from beautiful and sexy actresses and Rita Hayworth's in Gilda is one of the most provocative of all. The film is good and quite deep, the male leads are better, but Hayworth's performance is simply stunning and unforgettable. She may not have been the most beautiful 40s actress (Gene Tierney and Veronica Lake were more classic beauties imo), but if you look closely her ability to show the sweet, the vulnerable, and especially the wanton, in women has not been bettered. Somehow her character gets under the male viewer's skin in the same way as it does to the male characters in the film.
Modern film femme fatales are a pale shadow by comparison, for example Linda Fiorentino or Sharon Stone. I'm not sure why. It could be either that nowadays allure is too much equated with sex or nudity (less tantalising than several dashes of suggestion) or maybe it's that present day equivalents are portrayed as hard as nails without the necessary mix of sadness and vulnerability.
Whatever, if you've never appreciated what the appeal of 40s noir is, this is definitely one to try.
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