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. —IMDb
Director Charles Vidor came to prominence at the end of the silent film era. Born in Budapest, Hungary, in 1900, he worked in motion pictures most of his life, including at least three decades in Hollywood.
Vidor was regarded as a solid craftsman who made the most of what he had to work with, good or bad. With “Cover Girl” (1944), he let Gene Kelly choreograph his own dances. In the Chopin biopic “A Song to Remember” (1945), he lead Cornel Wilde to an Oscar nomination. He’s perhaps most famous for directing “Gilda” (1946) and is credited with helping to make stars out of Rita Hayworth and Glenn Ford.
Among his other film successes were “The Bridge” (1929), “The Loves of Carmen” (1948), “Love Me or Leave Me” (1955), “The Swan” (1956), “The Joker Is Wild” (1957) and “A Farewell to Arms” (1957). Vidor served as a Cannes Film Festival jurist in 1958.
In 1959, Vidor was in Vienna directing “A Magic Flame,” a film based on the life of Franz Liszt. Late one evening in… read more
I love this. Many classic noirs treat women as cold agents of ruin. Here, Gilda is a sensitive, independent woman who inhabits a world of cruel men. Right up until the imposed happy ending, this is a great feminist film. I can of course sing songs about how wonderful Rita and Rudolph Mate's cinematography are.
Update: Sight & Sound's "The DVDs of 2010": "24 critics and curators choose their releases — and rediscoveries — of the year." "For
While the New York Film Festival runs on through the weekend, a slew of other festivals around the world are suddenly kicking into gear
Because Gilda is possibly my absolute favourite ‘Queer Classic’ from Hollywood’s Golden Age, it always surprises me how many people don’t see the very rich gay subtext at its heart. It’s always been… read review