Saturday, February 26, 2011
Tuesday, February 8, 2011
Thursday, February 3, 2011
Gilda is one of the most biting love triangles I may have ever seen on film, mostly because the emotions involved don’t seem to be love. Gilda & Johnny hate each other because of their past love, and betrayals; Ballin treats gilda as an object to be desired and lord jealously over others; Gilda seeks to push herself into the arms of any man that shows her attention; and on top of all this Johnny & Ballin jealously continue to test their relationship by using Gilda as their leverage. It’s a heck of a thing.
This is one of the characters that defines the way we look at Rita Hayworth and now that I’ve seen the film I can see why. Gilda is a bundle of contradictions – she is one of the single best film noir women that I’ve seen, and I’ve seen a lot of noir. Hayworth is stunning, provocative, feminine and weak or strong when she needs to be, the perfect vixen with a soul.
The only downside I see in Gilda is perhaps how neatly it ends. For a story that has so much, greed, jealously, and double-crossing the resolution seems to come about in a manner too simple for how complex the rest of the story has been. Due to the era in which Gilda was released I don’t know how much of that was the filmmaking team making decisions versus the censorship of the day taking over and mandating what kind of stories and events the audiences could handle. I would be quite interested to see if perhaps there had been another, or at least more extended ending written for this film.
Director: Charles Vidor
Obregon: You two kids love each other pretty terribly, don't you?
Johnny Farrell: I hate her!
Obregon: That's what I mean. It's the most curious love-hate pattern I've ever had the privilege of witnessing.