|Starring:||Ludwig Donath, Glenn Ford, Rita Hayworth, Gerald Mohr, Joe Sawyer, Steve Geray, Lionel Royce, Don Douglas, Joseph Calleia, George Macready, Joe Sawyer /|
|Studio:||COLUMBIA TRI-STAR HOME VIDEO|
|Run time:||1 hour 45 minutes|
|Rental release:||10 Jan 2000|
|Main languages:||English, German, French, Spanish, Italian|
|Subtitles:||Arabic, Czech, Danish, Dutch, English, Finnish, French, German, Greek, Hebrew, Hindi, Hungarian, Italian, Norwegian, Polish, Portuguese, Spanish, Swedish, Turkish|
Most helpful review
The Love GodessBy Grimmy (31 reviews) from Up North , 03 Aug 2005
[Highly rated reviewer]A great film noir, great print restoration, everything you expect from a 1940s film of this kind: scheming aristocratic German villains, a hot and steamy exotic location (South America), glamorous nightclubs and casinos, a witty adult script with various 'hidden' subtexts (the gay relationship between Johnny Farrell and Balin Mundson, for example), great character actors, some singing and dancing and the most jaw dropping, eye-popping femme fatalle the screen has ever seen.
The dubbed Rita Hayworth the Love Godess after this film and put her picture on an Atom bomb.
This is great great film noir with a great great performance by Rita Hayworth. I'm sorry - if you are the sort of person who 'does not like black and white films', or who finds 1940s acting styles hard to take then don't bother with this film (but you really are missing half the plot and most of the point of what Film is about).
For those into the deeper pychological themes of these films, the text is about male self-loathing, misogyny and the fear of liberated female sexuality.
My only quibble is the faintly ludricous 'they all lived happily ever after' ending. But, who cares, by this time the villain has met his just dessert and you will have had a good hour and a half of the gorgeous Rita Hayworth, who, in this film, makes Marilyn Monroe seem like a lacklustre bit-part starlet.
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Not so much sizzling as soggyBy a customer , 31 Oct 2013I love the best of 40s/50s Hollywood, but unfortunately I can't include this film in that category. I think I was expecting a lot more, especially from Rita Hayworth, and the famous song...but her relationship with Glenn Ford's character never convinces, the emotions that we keep getting told are so strong certainly don't translate through body language. A disappointment.
Movie masterpiece masquerading as misogynistic melodramaBy a customer , 27 Aug 2011Vidor's noir masterpiece is an extraordinary experience. Rita Hayworth was never so beautiful as in this film. Her first entrance ('Are you decent Gilda?') makes audiences gasp at the contrast between her pumped-up Pre-Raphaelite beauty, and the blatant sexual challenge of her first words. Dick Powell is brilliant as the self-torturing chancer torn between his two alter egos: the one macho, violent and controlling and the other desperately sublimating in paranoid jealousy the love for Gilda he cannot hide. Is he a cuckold or a fool? He is offered the choice of a cow's head or a jester's for his Carnival costume.
Vidor uses all his cinematic artistry to blend Johnny's persona with that of the sinister Ballin(!!) in the audience's mind: note the brilliant scene where the two men climb the staircase with only one shadow and then the three silhouettes combine. Note the scene where the conversation between Johnny and Gilda is all shot over the shoulder and Ballin exists only as a disembodied voice. Johnny gradually takes over Ballin's entire personal life. Was Ballin ever a real person? Or was there 'only ever you and me Johnny' as Gilda suggests. Note the bewildering metaphorical themes running through the whole film, control, love as hate, hate as heat, hate as excitement, tungsten (hard, a source of heat and light but can only function in a vacuum contained by glass) and glass as the hard and brittle safety screen for heat, light and excitement. Carnival and Lent, swimming(!), music and even laundry all lay bare Johnny's psychological torment. All this and much, much more is there for you to discover. A masterclass in movie making.
Stylish classicBy Leni (179 reviews) from London , 18 May 2011They don't come more noir than this great classic of the 40's. It looks at first appearance like a standard romance, the sort of thing that would have suited Bogart and Bacall. But soon the almost dreamlike unreality of the dialogue and the breathtakingly involved plot begin to take command, and we realise that we are watching something very different, closer to opera in a sense. The lighting plays a major part too. They don't make them like this any more. So enjoy.
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Classic Sultry-nessBy BeccyMalloi (124 reviews) from Kersey, Suffolk , 07 Dec 2010What a wonderful and memorable piece of 1940's film. It oozes style, class and sexiness; the storyline is rather muddled in places but the main emphasis of the film I think is the relationship between Gilda and Johny Farrell. The rapport between them is very convincing and the tension mounts throughout the film. Watch it- it's a real gem and you can see why Rita Hayworth was (and still is) such a bombshell!
a classy classicBy a customer from North of Reading , 03 Feb 2009Glenn Ford is superb as the small time hustler who takes his job working for a big boss seriously, Rita Hayworth wows them in the aisles (as shown in the Shawshank Redemption) with serious sexiness (despite her heavy singing voice, not particularly graceful dancing and slightly chunky figure) and as she admits set the tone for her failed marriages 'they went to bed with Gilda and woke up with me'. Good story, excellent dialogue and direction, I feel bad having waited so long to see it.