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Cast

Rita Hayworth
as Gilda Mundson Farrell

Glenn Ford
as Johnny Farrell / Narrator

George Macready
as Ballin Mundson

Joseph Calleia
as Det. Maurice Obregon

Steven Geray
as Uncle Pio

Joe Sawyer
as Casey

Gerald Mohr
as Capt. Delgado

Robert E. Scott
as Gabe Evans

Ludwig Donath
as German

Don Douglas
as Thomas Langford

Lionel Royce
as 2nd German

S.Z. Martel
as Little Man

Saul Martell
as Little Man

George J. Lewis
as Huerta

Steve Geray

Rosa Rey
as Maria

Ruth Roman
as Girl

Argentina Brunetti
as Woman

Jerry De Castro
as Doorman

Robert Kellard
as Man at Masquerade

Fernanda Eliscu
as Bendolin's wife

Frank Leyva
as Argentine

Forbes Murray
as American

Sam Flint
as American

Bob Board
as American

Jean De Briac
as Frenchman

Oscar Loraine
as Frenchman

George Humbert
as Italian

Eduardo Ciannelli
as Bendolin

Russ Vincent
as Escort

Herbert Evans
as Englishman

Robert Tafur
as Clerk

Rodolfo Hoyos Jr.
as Peasant Man

Ernest Hilliard
as Man

Frank Leigh
as Man

Jean Del Val
as Man

Paul Regas
as Man

Philip Van Zandt
as Man

Ernö Verebes
as Dealer

Eugene Borden
as Dealer

Alphonse Martell
as Croupier

Leonardo Scavino
as Croupier

Soretta Raye
as Harpy

J.W. Noon
as Bunco Dealer

Nobel G. Evey
as Bunco Dealer

George Sorel
as Assistant croupier

Jack Chefe
as Assistant croupier

Albert Pollet
as Assistant croupier

Lou Palfy
as Assistant Croupier

Sam Appel
as Black Jack Dealer

Jack Del Rio
as Cashier

Julio Abadia
as Newsman/Waiter

Cosmo Sardo
as Bit

Joseph Palmas
as Waiter

Paul Bradley
as Bit

Nina Bara
as Bit

John Tyrrell
as Bit

Leander De Cordova
as Servant

Fred Godoy
as Bartender

Lew Harvey
as Policeman

John Merton
as Policeman

Herman Marks
as Waiter

Carli Elinor
as Waiter

Joe Palma
as Waiter

Alfred Paix
as Waiter

Ralph Navarro
as Waiter

Ted Hecht
as Social citizen

Ramon Munox
as Judge

Sam Ash
as Gambler

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Critic Reviews for Gilda

Audience Reviews for Gilda

• Jun 29, 2016

  Come for Rita Hayworth's infamous hair flip, stay for the psychopathic love triangle. You can easily ignore the out of place happy ending, as it happens rather abruptly, and focus instead on the witty and cynical rest of the movie.
  

  Alec B Super Reviewer
• Jul 08, 2014

  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.
  Carlos M Super Reviewer
• Feb 28, 2012

  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. "
  Reid V Super Reviewer
• Jul 27, 2011

  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.
  

  Matheus C Super Reviewer

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