2019 Blind Spot Series: Gilda

Directed by Charles Vidor and screenplay by Marion Parsonnet from a story by E.A. Ellington with adaptation by Jo Eisinger and un-credited work from Ben Hecht, Gilda is the story of a kingpin’s wife who is caught in a love triangle between her husband and a former lover who manages her husband’s casino. Set in the casinos of Bueno Aires, the film is a noir picture that play into a woman whose sex appeal drives two men to a breaking point as the titular character is played by Rita Hayworth. Also starring Glenn Ford, George Macready, Joseph Calleia, and Steven Geray. Gilda is a dazzling and exhilarating film from Charles Vidor.

A gambler meets a casino owner as he is hired to manage the man’s casino where he finds himself meeting the owner’s wife who was an old flame of the gambler. It’s a film that play into an uneasy love triangle of sorts yet there is this love-hate relationship between Gilda and the gambler Johnny Farrell (Glenn Ford) who hide their past from Gilda’s husband in the casino owner Ballin Mundson (George Macready) who eventually becomes suspicious about them. Marion Parsonnet’s screenplay is largely told through Farrell’s perspective in a traditional film-noir style of voice-over narration and a language that features stylized dialogue that add to the tension in the film. Notably as it play into this tense atmosphere in the casino in Buenos Aires where Farrell is helping Mundson watching over the casino as it relates to cheats and such.

Still, Farrell does become concerned about Mundson’s business as it relates to German businessman who want to work with Mundson following the aftermath of World War II. Mundson’s business would also attract the attention of Argentine government agent Obregon (Joseph Calleia) who is also suspicious about Mundson’s dealings. Things get more complicated during the second half as it would relate to Farrell trying to steer Gilda away from other men believing that Mundson would get hurt if he knew the truth. Yet, it would play into an uneasy alliance between the two during its third act that would create more tension and intrigue.

Charles Vidor’s direction does have some style in terms of the lavish presentation of Buenos Aires though it was shot mainly in studio lots in Hollywood. While there’s some wide shots of the streets as well as interior of the casino, Vidor aims for something much simpler as it play into the dramatic tension between Gilda and Farrell through close-ups and medium shots. Vidor would also use some intricate compositions as it would show what Mundson is seeing in the casino on the second floor while it has this air of controlled chaos unless something goes wrong where Farrell would take care of the situation. The scenes between Gilda and Farrell have Vidor play up the sexual tension with Gilda being quite forward to get Farrell to do something as a scene of her singing and playing a guitar late one night is a key example of this romantic interplay.

Things would get more exhilarating during its third act due to a couple of musical numbers involving Gilda who would try to wow men just to get attention or to rile Farrell up who feels immense loyalty to Mundson. It would lead to revelations about Mundson’s business as well as why so many people are after him as Vidor would play up the suspense in the third act with Gilda and Farrell being forced to work together to stop Mundson. Overall, Vidor crafts a scintillating yet exciting film about a gambler dealing with a former flame who is married to his new boss at a casino.

Cinematographer Rudolph Mate does amazing work with the film’s black-and-white photography as it help set a mood for some of the scenes at the club including the musical performances with its usage of light and shadow. Editor Charles Nelson does terrific work with the editing as it is straightforward with a few fade-outs to help structure the story along with rhythmic cuts for the suspenseful moments. Art directors Stephen Goosson and Van Nest Polglase, along with set decorator Robert Priestley, do brilliant work with the look of the interior of the casino and its bar as well as the Mundson home and his office overlooking the casino.

Costume designer Jean Louis does excellent work with the costumes that focuses mainly on the clothes Gilda wears including the iconic strapless black dress for the big musical number. Makeup artist Clay Campbell does nice work with the look of Gilda to play into her glamorous persona as well as the steely look of Mundson. Sound recordist Lambert E. Day does superb work with the sound as it play into the raucous atmosphere of the casinos as well as the exterior scenes involving cars. The film’s music soundtrack supervised by M.W. Stoloff and Marlin Skiles is wonderful for its mixture of orchestral-based stock music that is used sparingly along with some big-band music that include some of the songs that Gilda sings.

The film’s incredible cast include some notable small roles from Ludwig Donath and Lionel Royce as a couple of Germans, Joe Sawyer as a hood of Mundson in Casey, Don Douglas as a lawyer Gilda goes out with late in the film in Thomas Langford, Mark Roberts as a man flirting with Gilda in Gabe Evans, and Steven Geray in a fantastic performance as the washroom attendant Uncle Pio as a man who isn’t impressed with Farrell as he calls him “Mr. Peasant” as he’s someone who is a lot smarter than people give him credit for as he’s an observer with some philosophical views about what Farrell is going through. Joseph Calleia is excellent as Detective Maurice Obregon as a police investigator who is suspicious about Mundson’s business dealings outside of Argentina as he believes that Farrell knows something while is a man that is incorruptible and wants to help Farrell.

George Macready is brilliant as Ballin Mundson as a casino owner who gives Farrell a job to manage the casino while he is also trying to do other things while becomes concerned about Gilda and questions about her past as it’s a chilling yet engaging performance from Macready. Glenn Ford is amazing as Johnny Farrell as a gambler who is hired by Mundson to manage the casino where he feels indebted to Mundson but is troubled by the presence of Gilda as he copes with his feelings and disdain for her as it’s one of his great performances. Finally, there’s Rita Hayworth in a phenomenal performance as the titular character as a woman who is married to a casino owner as she is someone trying to get attention and to be loved while also riling up both her husband and former love as it’s a performance full of charisma and oozing sex appeal along with this air of ferocity that makes it an iconic performance from Hayworth.

Gilda is a spectacular film from Charles Vidor that features great performances from Rita Hayworth, Glenn Ford, and George Macready. Along with its ensemble cast, gorgeous photography, dazzling costumes, and thrilling moments of suspense and drama. It’s a noir film that manages to hit all of the right notes while being a study of emotions and temptation between two former lovers who both have a bad history in this love-hate relationship. In the end, Gilda is a sensational film from Charles Vidor.

Charles Vidor Films: (The Mask of Fu Manchu) – (Sensation Hunters) – (Double Door) – (Strangers All) – (The Arizonians) – (His Family Tree) – (A Doctor’s Diary) – (The Great Gambini) – (Romance of the Redwoods) – (Blind Alley) – (Those High Grey Walls) – (My Son, My Son!) – (The Lady in Question) – (Ladies in Retirement) – (New York Town) – (The Tuttles of Tahiti) – (The Desperadoes) – (Cover Girl) – (Together Again) – (A Song to Remember) – (Over 21) – (The Loves of Carmen) – (Hans Christian Andersen) – (Thunder in the East) – (Rhapsody) – (Love Me or Leave Me) – (The Swan) – (The Joker is Wild) – (A Farewell to Arms (1957 film)) – (Song Without End)

© thevoid99 2019

The Lady from Shanghai

Based on the novel If I Die Before I Wake by Sherwood King, The Lady from Shanghai is the story of a man who finds himself in trouble that involves a tycoon and his seductive wife. Written for the screen and directed by Orson Welles, with additional screenplay contributions by William Castle, Charles Lederer, and Fletcher Markle. The film is an exploration into a man who finds himself intrigued by a couple only to get himself into deep trouble. Starring Orson Welles, Rita Hayworth, and Everett Sloane. The Lady from Shanghai is a chilling yet rich suspense film from Orson Welles.

What happens when an Irish sailor comes across a beautiful woman who is married to a famed lawyer as he falls for her and later finds himself in trouble when he’s involved in an embezzlement plot? That’s the idea of the film as it explores this man named Michael O’Hara (Orson Welles) who meets this beautiful woman named Elsa (Rita Hayworth) as she is intrigued by him where he becomes a sailor on a yacht owned by her husband Arthur Bannister (Everett Sloane). An attraction ensues between Michael and Elsa as it gets the attention of Bannister’s partner George Grisby (Glenn Anders) who conspires to fake his own death with Michael receiving $5000 to do the deed. Yet, things become complicated when Michael realizes that something didn’t go right when a private detective named Sidney Broome (Ted de Corsia) is involved trying to figure out what is going. Notably as it leads a chilling climax for Michael to realize what’s really going on.

The screenplay does create a lot of schematics that would become part of the formula that is expected in the world of film noir. There’s this drifter who finds himself attracted to this gorgeous blonde who is married to a disabled criminal defense attorney. There’s the woman herself as she exudes all of the qualities that can get men to do her bidding as she is also troubled by the fact that her marriage is failing and she is in love with this sailor. There’s this defense attorney who is unaware of what is going as he becomes a target for an embezzlement scheme. Then there’s his business partner who wants to fake his death as a way to use it as a ruse so he can plot something else and blame this drifter for the crime.

It’s all part of the set-up that Welles and his contributing writers would do in this story as it involves all sorts of genres into the story. Romance, suspense, and crime all involving this Irish sailor who is reflecting on everything he’s been through in this journey. From the first meeting he has with Elsa to his meeting with Grisby where Michael finds himself taking the deal in the hopes that he and Elsa will be together. Michael is unaware that he is being played for a fool where he finds himself in big trouble where Bannister has to defend him in court where there’s some revelations that occur. Notably where Michael realizes what has been done to him and why as it’s up to him to piece everything together.

Welles’ direction definitely has an air of style in the way he presents the film though he does manage to keep things straightforward in second unit shots and vast location shots in San Francisco and nearby locations as well as some shots in Acapulco, Mexico. Welles still maintains that air of style in the close-up and medium shots to establish the tense mood that is happening as well as the romance between Michael and Elsa. Welles also plays up the air of suspense that occurs where he knows that audiences will expect something but he’ll find a way to build up that momentum very slowly and do something either expected or unexpected.

Welles also plays into this element of style in the way he sets a mood for some tense scenes involving the suspense where it does become intense. Notably in the courtroom scenes where it’s all about Michael O’Hara being the target for all that is happened and what could be unveiled. Even as it leads to this very surreal yet dazzling climax where O’Hara not only unveils the mystery but also what it was all about. It’s one of the most thrilling moments of the film as well as something that is really unexpected in terms of the way Welles presented with a large degree of style. Overall, Welles creates a very fascinating yet mesmerizing thriller that plays to the attributes of film noir.

Cinematographer Charles Lawton Jr., with additional work from Rudolph Mate and Joseph Walker, does excellent work with the film‘s black-and-white photography from the beautiful scenery in some of the film‘s beach locations to the stylish interior shadings in some of the film‘s nighttime scenes. Editor Viola Lawrence does amazing work with the editing as it‘s very stylized with its use of dissolves as well as dazzling cuts in the film‘s climax. Art directors Sturges Carne and Stephen Gooson, along with set decorators Wilbur Menefee and Herman N. Schoenbrun, do terrific work with the sets from the look of the courtroom and places the characters go to as well as the place for the film’s climax.

Costume designer Jean Louis does wonderful work with the gowns and clothes that Elsa wears to complement her unique sense of style. Sound recordist Lodge Cunningham does terrific work with the sound from the tense moments in the courtroom to the more low-key atmosphere in the scenes on the yacht. The film’s music by Heinz Roemheld is superb for its intense orchestral moments that is filled with lush string flourishes to play out the drama as well as eerie bombast for its suspenseful moments.

The film’s cast is brilliant as it features some notable small performances from Carl Frank as the district attorney, Erskine Sanford as the judge, and Ted de Corsia as the private detective Sidney Broome. Everett Sloane is terrific as Arthur Bannister who is unaware of Elsa’s attraction towards Michael while he tries to defend him in court where he realizes what has been going on. Glenn Anders is excellent as the scheming George Grisby who tries to get Michael involved in a plan to steal money from Bannister. Rita Hayworth is marvelous as Elsa where Hayworth is just intoxicating to watch as a woman who is clearly falling for Michael as she also deals with the consequences they’re dealing with. Finally, there’s Orson Welles in a remarkable performance as Michael O’Hara where Welles plays him as a man trapped by his surroundings and the situations he’s in. While some of Welles’ Irish accent isn’t perfect, it is still engaging for the way he tries to piece out everything that’s been happening.

The Lady from Shanghai is an incredible film from Orson Welles that features a fantastic performance from Rita Hayworth. The film isn’t just one of Welles’ finest films but also one of the key films of the film noir genre of the 1940s and early 1950s. Notably in how it creates the air of suspense while engaging the audience into figuring out what is going on throughout the film. In the end, The Lady from Shanghai is a rich yet phenomenal film from Orson Welles.

Orson Welles Films: Citizen Kane - The Magnificent Ambersons - The Stranger (1946 film) - Macbeth (1948 film) - Othello (1952 film) - Mr. Arkadin - Touch of Evil - The Trial (1962 film) - Chimes at Midnight - The Immortal Story - F for Fake - Filming Othello – The Other Side of the Wind

Related: Orson Welles: The One-Man Band - The Eyes of Orson Welles - They’ll Love Me When I’m Dead - The Auteurs #69: Orson Welles: Part 1 - Part 2

© thevoid99 2013