Donald Douglas, George Macready, Gerald Mohr

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 ...( read more  read more... )lack of scruples is strained when Mundson returns from a trip with a wife: whom Johnny once knew and learned to hate.

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PG, 1 hr. 50 min.

Directed by: Charles Vidor

Release Date: January 1, 1946

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DVD Release Date: November 7, 2000

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Flixster Reviews (619)


  • September 27, 2009
    Possibly my absolute favourite 'Queer Classic'. It always surprises me how many people don't see the very rich gay subtext at the heart of 'Gilda'. It's always been so obvious to me that it's barely a subtext at all and almost becomes the driving force of the plot. The opening sc...( read more)ene alone, as George Macready (at his most sinister and insinuating) picks up Glenn Ford (at his most boyishly handsome) at the docks, in a scene that practically simmers with innuendo (the lighting of the cigarettes, Ballin's loving description of his cane, "you must lead a gay life?"). And when Rita Hayworth turns up (burning up the celluloid in her most glamorous and filthiest role), it does nothing to 'straighten' proceedings - on the contrary it simply completes a very literal ménage à trois (in no uncertain terms, Gilda mockingly informs Johnny that he is as much 'kept' by Ballin as she is).
    But even without the gay 'subtext' Gilda is still one of the Golden Age's finest. It does lose some of it's vitality and delicious deviancy when Macready disappears from the proceedings - and, inevitably, it's 'queerness' dims a little. Also, the very 'tidy' moral ending is a bit of a letdown. But these are only minor flaws to be endured. Marvelous!
  • June 10, 2009
    "Gilda", Charles Vidor's 1946 noir, was the film responsible for making Rita Hayworth one of the decade's most beloved sex symbols. In the most memorable scene of the film, she does a striptease while singing "Put the Blame on Mame" in a nightclub. Although she only removes one g...( read more)love, the scene is perhaps one of the most enchanting and seductive sequences in film history.

    Johnny Farrell (Glenn Ford) is a slimy adventure-seeking cheat who uses loaded dice to beat the locals in a casino in Buenos Aires. After the game, he is attacked by a thug and then saved by Ballin Mundson (George Macready). Johnny has not learned his lesson, and now plays blackjack at another casino nearby. Without fail, he gets twenty one in each game after shuffling the deck on his own (which the rules of the table allow him to do). It turns out that the owner of the casino is Ballin himself, and Johnny convinces Ballin that he's a loyal man and would be a good right-hand man for him. Johnny becomes a manager at the casino, and things go smoothly until Johnny is introduced to Ballin's wife, Gilda (Rita Hayworth).

    Unbeknownced to Ballin, Johnny and Gilda have a romantic history. We're only given clues, but it's safe to assume that Johnny had walked out on Gilda out of jealousy. Johnny is now extraordinarily bitter and looks at Gilda with disgust. As much as he says he hates her, however, there is enormous sexual tension between the two. Gilda, a tease, alternates between flirting with him and offering equally nasty rebuttals to his insults

    The film takes a bit of an odd turn when we learn that Ballin is fronting for a group of Nazis. Police officers are also in the mix, keeping an eye on both the illegal gambling practices and the Germans lingering around. One day, Johnny and Gilda kiss moments after expressing their hatred for one another. Ballin witnesses the kiss, storms off, and appears to commit suicide via plane crash at sea. The audience sees Ballin rescued, however Johnny, Gilda, and the rest of the employees at Ballin's casino assume he has died. Johnny, as per Ballin's will, becomes the head of the casino and he eventually weds Gilda.

    The last act of the film is both silly and fascinating as Johnny, who had been a sort of anti-hero, becomes extraordinarily spiteful and seeks revenge on Gilda. Gilda becomes the feminist hero, whereas she'd been the scheming seductress prior to Ballin's death. Not all of this works, and the last scene is especially corny and implausible, but it's certainly never not entertaining.

    "Gilda" is worth seeing for the talents of the three leads, especially Rita Hayworth who takes her place in history with one of the most memorable of all woman performances. The film is beautifully shot, it's settings memorable, and it's starring performance being everything you can ask for out of a lead role. While a bit implausible at times, "Gilda" is an energetic and highly captivating ride.
  • May 25, 2009
    Gambler Glenn Ford is torn between ex lover Rita Hayworth and his loyalty to the friend he owes his life to leading to one of the most dysfunctional romances ever to grace the silver screen! Hayworth is absolutely stunning as the manipulative seductress and the on screen chemistr...( read more)y between her and Ford is the main reason why this film works. Their love-hate interplay is fantastic and the way your sympathies shift from one to the other is very nicely done. Unfortunately I found the plot little more than window dressing that is thoroughly overshadowed by the leading couple, and it all resolved itself a little too easily for me. But there are some really nice visual touches using light and shadow, thoroughly in keeping with the great tradition of Film Noir and it's certainly worth the time for Rita alone.
  • January 4, 2009
    All in all, an excellent film noir. I couldn't quite get my head around all that business wrangling over George Macready's tungsten monopoly, but it's the sizzling atmosphere that really matters here. I especially like the way the Ford-Hayworth-Macready love triangle is gi...( read more)ven a fascinatingly subversive twist whenever Hayworth and Ford compete for Macready's affection; to call it a homoerotic undercurrent between Ford and Macready might be an overstatement, but there's definitely something interesting going on there. Hayworth is magnificent - and it's impossible to imagine the movie being even half as good without her - but, for me, Macready steals the picture; it certainly weakens considerably when he disappears in the middle. So palpable is the menace oozed by Macready, we never doubt for a moment he's capable of doing something very nasty to Glenn Ford, however often latter might prove he can handle himself. I love the scene where Macready, chillingly shot in silhouette, catches Ford and Hayworth sneaking back from 'swimming'. The ending is a little lame though: "You're not really a bitch, I'm not really a bastard! D'ya fancy walking into that sunset?" - that kind of lame.
  • August 16, 2008
    like the big sleep, the plot doesn't really hang together but who cares? i give it 4 stars for wicked chemistry and great atmosphere. gilda is fabulous but i think my fave character is the smartass philosophical mensroom attendant, uncle pio
  • November 11, 2009
    film noir at it's best







    film noir at it's best
  • October 24, 2009
    This is a movie that was more than likely greenlit because of the success of the movie Casablanca. Like that classic, this movie depicts a love triangle set against a seedy bar/casino in an exotic location. The similarities really end there as this story goes in decidedly more ...( read more)nourish territory. This is one of those odd movies that tried to tell an inherently sexual story within the limits of the old Hayes code. The result are a lot of straight faced innuendos and code words, like how the main character taught Gilda ?everything she knows? (translation: he broke her cherry). Perhaps the film?s greatest asset is Rita Hayworth, who lived up to her reputation of being a total sexpot. Her entrance into the film is an iconic shot and her strapless dresses are sexy as hell, I can tell why Andy Dufresne wanted her up on his wall. However the MacGuffiny and underdeveloped plotline about a Tungsten cartel that?s in the foreground is not as interesting as the coded sexcapades in the background. I also thought that the film?s happy ending was completely out of place. This is a film populated entirely by unpleasant people, that?s the whole point, but in the last ten minutes they decide that one of these unpleasant people is the real villain and the other two are allowed to live happily ever after. This undercuts everything that came before and contradicts every convention on film noir.
  • September 28, 2009
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  • September 28, 2009
    ?There has never been a woman like Gilda?.(from film posters)

    I love the classic beaty of a true film noir. One of my absolute favourite films ever. Gilda has the most famous striptease scene. Rita Hayworth with her sleek and sophisticated eroticism (to the sound of Put the B...( read more)lame on Mame) only removes long black satin gloves from her arms and turn on the males.
  • September 21, 2009
    "Sai, se dovessi scegliermi un motto il mio sarebbe certamente "Nessun divieto""
    "Io sono nato ieri sera quando mi ha incontrato. Quindi non ho un passato: ho soltanto un futuro, e preferisco così"
    "Lei fuma troppo, l'ho notato. Solo le persone infelici fumano troppo, e solo le p...( read more)ersone sole sono infelici."

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  • themoviegrrl
    December 24, 2006
    This is one of the lost and great film noirs. Many might disregard it because of its cliche or unimpressive storyline. However, this film produces some of the best onscreen chemistry in movie history. The performances are well done, and memorable! Some favorite quotes:

    Gilda: If I was a ranch, they'd call me the barnone.

    (Johnny interrupts a dance between Gilda and a mystery man)

    Johnny: Doesn't bother you that you're married?
    Gilda: What I want to know is...does it bother you?

    ___

    For anyone who loves the classics this film serves its purpose as being memorable and fun! Other highlights include the song/musical sections.

    The scene of Johnny waking up to sound of Gilda playing a "Put the Blame on Mame" on the guitar remains one of my favorite moments.

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