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.
Macbeth, the Thane of Glamis, receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders his king and takes the throne for himself.
Michael O'Hara, against his better judgement, hires on as a crew member of Arthur Bannister's yacht, sailing to San Francisco. They pick up Grisby, Bannister's law partner, en route. Bannister has a wife, Elsa, who seems to like Michael much better than she likes her husband. After they dock in Sausalito, Michael goes along with Grisby's weird plan to fake his (Grisby's) murder so he can disappear untailed. He wants the $5000 Grisby has offered, so he can run off with Elsa. But Grisby turns up actually murdered, and Michael gets blamed for it. Somebody set him up, but it is not clear who or how. Bannister (the actual murderer?) defends Michael in court.Written by
John Oswalt <email@example.com>
Errol Flynn's own pet dachshund is seen in the yacht scenes, since it is Flynn's yacht "Zaca" in the film. Flynn also did all the aerial photography for that film's yacht scenes and is in the film incognito. See more »
When Michael stands up as the judge enters and knocks over Arthur's opened pain medicine bottle; the cap is untouched while a certain amount of pills spill on to the table. But on a following shot the orientation of the pills, bottle and cap have changed. The cap is now upside down while the bottle, cap and pills are on different spots on the table. See more »
When I start out to make a fool of myself, there's very little can stop me. If I'd known where it would end, I'd never let anything start... if I'd been in my right mind, that is. But once I'd seen her, once I'd seen her, I was not in my right mind for quite some time.
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Opening credits shown over a water background. See more »
Welles' camera seemed almost to caress Rita Hayworth...
After all, you do not go to an Orson Welles movie to see a nice simple little plot and a burnishing of the image of a happy-ever-after star
You go to see theatrically heightened characters locked in conflict against colorful and unusual settings, lighted and scored imaginatively, photographed bravely, and the whole thing peppered with unexpected details of surprise that a wiser and duller director would either avoid or not think of in the first place
As usual, as well as directing, Welles wrote the script and he also played the hero a young Irish seaman who had knocked about the world and seen its evil, but still retained his clear-eyed trust in the goodness of others Unfortunately for him, he reposed this trust in Rita Hayworth, whose cool good looks concealed a gloomy past and murderous inclinations for the future She was married without love, to an impotent, crippled advocate, acted like a malevolent lizard by the brilliant Everett Sloane
There is a youthful romanticism underlying it all, and this quality came into exuberant play in "The Lady from Shanghai." Before the inevitable happened, Welles escaped to a final triangular showdown in a hall of mirrors, which has become one of the classic scenes of the post-war cinema
Welles did not miss a chance throughout the whole film to counterpoint the words and actions with visual detail which enriched the texture and heightened the atmosphere His camera seemed almost to caress Rita Hayworth as the sun played with her hair and her long limbs while she playfully teased the young seaman into her web
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