Gilda (1946)
You know from the first few minutes that this movie will look great and move fast. By twelve minutes in you have a swirling shifting plot line and two memorable lead players. And that's before Rita Hayworth has even appeared (as the title character).
Glenn Ford is young and almost baby-faced here, but a mature presence, great to see in this demanding role, at least for a film noir. And yes this is a noir, a great one, with all the archetypes--the lead male floating anchor-less through a sinister world, a femme fatale, and a complex plot with a backstory that matters. It's filmed in fluid moving camera black and white, with lots of night stuff. And it's over the top dramatic.
Ford is Hayworth's favorite leading male, and you might sense why here. They are very evenly matched, and the scenes with the two of them (often with others, too) are great. But then, all of it is pretty terrific. There is a true Hitchcock style McGuffin involved --tungsten, this time--and it really doesn't matter. You do have to pay attention to every look and remark to fully follow the deceptions, and to be let in on the secrets as they come out. And it's worth it.
Part of the joy here is the new film noir mood fully blossomed, complete with the snappy dialog of short pithy quips, and with a contrasty filming style. This is a great one, set in Argentina in those years when the Nazi refugees were roaming South America.
Don't miss it. Highly recommend seeing "Notorious" by Hitchcock at the same time, because they both travel through similar external circumstances. But the differences in feel and style are clear as day. Both are great, and both are moving in different post-War directions.
You know from the first few minutes that this movie will look great and move fast. By twelve minutes in you have a swirling shifting plot line and two memorable lead players. And that's before Rita Hayworth has even appeared (as the title character).
Glenn Ford is young and almost baby-faced here, but a mature presence, great to see in this demanding role, at least for a film noir. And yes this is a noir, a great one, with all the archetypes--the lead male floating anchor-less through a sinister world, a femme fatale, and a complex plot with a backstory that matters. It's filmed in fluid moving camera black and white, with lots of night stuff. And it's over the top dramatic.
Ford is Hayworth's favorite leading male, and you might sense why here. They are very evenly matched, and the scenes with the two of them (often with others, too) are great. But then, all of it is pretty terrific. There is a true Hitchcock style McGuffin involved --tungsten, this time--and it really doesn't matter. You do have to pay attention to every look and remark to fully follow the deceptions, and to be let in on the secrets as they come out. And it's worth it.
Part of the joy here is the new film noir mood fully blossomed, complete with the snappy dialog of short pithy quips, and with a contrasty filming style. This is a great one, set in Argentina in those years when the Nazi refugees were roaming South America.
Don't miss it. Highly recommend seeing "Notorious" by Hitchcock at the same time, because they both travel through similar external circumstances. But the differences in feel and style are clear as day. Both are great, and both are moving in different post-War directions.