Gilda1946
Gilda (1946)
Gilda Photos
Movie Info
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Cast
as Gilda Mundson Farrell
as Johnny Farrell / Narrator
as Ballin Mundson
as Det. Maurice Obregon
as Uncle Pio
as Casey
as Capt. Delgado
as Gabe Evans
as German
as Thomas Langford
as 2nd German
as Little Man
as Little Man
as Huerta
as Maria
as Girl
as Woman
as Doorman
as Man at Masquerade
as Bendolin's wife
as Argentine
as American
as American
as American
as Frenchman
as Frenchman
as Italian
as Bendolin
as Escort
as Englishman
as Clerk
as Peasant Man
as Man
as Man
as Man
as Man
as Man
as Dealer
as Dealer
as Croupier
as Croupier
as Harpy
as Bunco Dealer
as Bunco Dealer
as Assistant croupier
as Assistant croupier
as Assistant croupier
as Assistant Croupier
as Black Jack Dealer
as Cashier
as Newsman/Waiter
as Bit
as Waiter
as Bit
as Bit
as Bit
as Servant
as Bartender
as Policeman
as Policeman
as Waiter
as Waiter
as Waiter
as Waiter
as Waiter
as Social citizen
as Judge
as Gambler
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Critic Reviews for Gilda
All Critics (31) | Top Critics (1) | Fresh (30) | Rotten (1) | DVD (3)
One of the great films noirs, softened just a little by the moralising censorship strictures of the time. See it.
Rita Hayworth's entrance is pure Hollywood starcraft: a perfectly lit close-up as she whips her head into frame, her hair lashing back and revealing her bright face and wide, mischievous grin.
While Gilda's ending perhaps edges towards easy sentimentality, its story is one of emotional complexity, variant readings, and problematic eroticism.
The limitations of the Hays code forced writers and directors to get creative, and so much of what's really happening in Gilda is buried beneath the surface.
The plot elements aren't always riveting, but the subtext of the pas de trois never disappoints.
'Gilda' is memorable for the minutes of one dubbed song, one dance. But, ah! that one sexually confident shimmy is enough.
Audience Reviews for Gilda
It is easy to just enjoy the gorgeous sight of Rita Hayworth exhaling beauty and sensuality, but let's not overlook how stupid, implausible and misogynist this film really is, painting Gilda as a mischievous femme fatale when in fact she is a victim in the hands of two hideous men.
Super Reviewer
Post-war greed, tempting women, and dark souls collide in the seductive Gilda. In a world ablaze in celebration, director Charles Vidor suggests that even amid all of the gaiety, exists a group whose tortured existence is ruled by deceit. Men and women, looking to forget their past misfortunes, begin to amass new fortunes at the expense of others. Even strangers in the street allude to the fact that they are becoming immune to human compassion. The man in this particular tale is Johnny Farrell, played by the always excellent Glenn Ford. Farrell, a man who likes to think that he "makes his own luck", spends his days narrowly escaping one quagmire after another, only to find himself hastily picking up the scent of the next big score. During his ascendancy in a cartel under the partronage of Ballin Mundson, his world is turned upside down by the dazzling and vivacious Gilda, played by Rita Hayworth, who happens to be Mundson's newly betrothed. While both men previously acknowledge that women and gambling don't mix, they both cannot seem to ignore this high stakes game. As soon as Rita Hayworth flips her hair back, you know she is trouble. She just oozes sexuality and I even found myself lured in by all of her celebrated, albeit achromatic, features. Farrell's contempt for Gilda is twofold. First off, he doesn't like her because it is revealed that they have a torrid history together. Secondly, and of prime importance in my opinion, Farrell sees too much of himself in her. Jumping from opportunity to opportunity, looking for the next path to fortune, Gilda is a manifestation of Farrell's ethos. Which draws both Farrell's fascination and ire. In one of their more passionate exchanges, Farrell accuses of Gilda of using Mundson for personal gain, to which she responds "That wouldn't be the big pot calling the little kettle black, now would it?" They develop a deeply passionate love/hate relationship that brilliantly taps into the duality of a post-war mind. Vigor accents these themes with his use of shadows. Often Gilda and Jonny are cloaked in darkness. If they do happen to be seen in the light, their shadow is sure to be close by, prowling in the background. In one outstanding scene, when Jonny and Gilda appear to have been found out by Mundson, Vidor frames the shot so the cuckold is close to the camera, a large shadow looming in judgment over the accused. In the same shot, Gilda walks to the back of the frame before addressing her husband, drenching herself in darkness. Vidor's visual language gives a whole other meaning to the term "shady people." It is not a perfect story. In fact, I found the ending to be rather slapdash and saccharine. Yet, it is quite an entertaining sexually charged noir. If nothing else, it will help you better understand what had all of the men gawking in "The Shawshank Redemption. "
Super Reviewer
The camera was in love with Rita Hayworth and she made sure we noticed it. One of the best noirs out there with probably the most strange case of a mènage a trois ever seen in a Hollywood pic.
Super Reviewer
Gilda Quotes
| Ballin Mundson: | Gilda, are you decent? |
| Gilda Mundson: | Me? [long pause] Sure. I'm decent |
| Ballin Mundson: | You'd be surprised to hear a woman sing in my house |
| Ballin Mundson: | You'd be surprised to hear a woman sing in my house. |
| Gilda Mundson: | I danced in America |
| Gilda Mundson: | I danced in America. |
| Capt. Delgado: | This is not America? |
| Gilda Mundson: | I mean New York |
| Gilda Mundson: | I mean New York. |