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Rita Hayworth, Glenn Ford, George Macready, Joseph Calleia, Steven Geray ... see more see more... , Joe Sawyer , Gerald Mohr , Robert E. Scott , Ludwig Donath , Donald Douglas , Lionel Royce , S.Z. Martel , George J. Lewis , Rosa Rey , Sam Appel , Sam Ash , Nina Bara , Eugene Borden , Argentina Brunetti , Jack Chefe , Eduardo Ciannelli , Jean De Briac , Jean Del Val , Fernanda Eliscu , Herbert Evans , Sam Flint , Lew Harvey , Ted Hecht , Ernest Hilliard , George Humbert , Robert Kellard , Frank Leigh , Leonardo Scavino , Alphonse Martell , John Merton , Forbes Murray , Joseph Palmas , Albert Pollet , Ruth Roman , Cosmo Sardo , George Sorel , John Tyrrell , Philip Van Zandt , Ernö Verebes , Russ Vincent , Leander De Cordova , Robert Stevens , Robert Tafur , Jack Del Rio , Frank Leyva , Jerry DeCastro , Carli Elinor , Fred Godoy , Oscar Loraine , Herman Marks , Ralph Navarro , Alfred Paix , Rodolfo Hoyos Jr. , Paul Bradley

When wealthy Ballin Mundson (George Macready) rescues down at his heels gambler Johnny Farrell (Glenn Ford) and invites him to the Buenos Aires casino he owns, both men get more than they wagered on. ... read more read more...Farrell convinces Mundson to hire him as casino manager, but is shocked when Mundson introduces his new bride, and Farrell's old flame, Gilda (Rita Hayworth).Though Farrell is unwavering in his loyalty to his employer, and he and Gilda treat each other with contempt, Mundson realizes that the torch never died for either of the former lovers. Ordered to guard Gilda, Farrell tries to convince himself that he's protecting Mundson's interests, but Gilda sees through his self-deception. Meanwhile, Mundson reveals to Farrell that his primary business is control of an international tungsten cartel that he plans to use to further his fascist ends. With the police closing in on the cartel, Mundson fakes his death, apparently leaving Gilda and Farrell free to marry. They do so: Gilda for love, but Farrell to punish her for being unfaithful to Mundson. When Mundson returns to kill them, it is he who dies, thereby freeing the lovers to apologize to each other and return to the U.S. Charles Vidor's Gilda is a voyeuristic film noir treat that engages the viewer in a complex web of sado-masochistic triangles. When, for example, Gilda performs her signature number, "Put the Blame on Mame," she is not simply enraging both Mundson and Farrell with her open sexuality, she is also crying out in pain for the love she is being denied. ~ Steve Press, Rovi

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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 (735)

  • brooklynspo
    May 8, 2007
    brooklynspo
    "This is the part I really like, when she does that shit with her hair."

    Red - Shawshank Redemption
  • axadntpron
    February 28, 2012
    axadntpron
    Post-war greed, tempting women, and dark souls collide in the seductive Gilda. In a world ablaze in celebration, director Charles Vidor suggests that even amid all of the gaiety, exists a group whose tortured existence is ruled by deceit. Men and women, looking to forget their pa... read morest misfortunes, begin to amass new fortunes at the expense of others. Even strangers in the street allude to the fact that they are becoming immune to human compassion.
    The man in this particular tale is Johnny Farrell, played by the always excellent Glenn Ford. Farrell, a man who likes to think that he "makes his own luck", spends his days narrowly escaping one quagmire after another, only to find himself hastily picking up the scent of the next big score.

    During his ascendancy in a cartel under the partronage of Ballin Mundson, his world is turned upside down by the dazzling and vivacious Gilda, played by Rita Hayworth, who happens to be Mundson's newly betrothed. While both men previously acknowledge that women and gambling don't mix, they both cannot seem to ignore this high stakes game. As soon as Rita Hayworth flips her hair back, you know she is trouble. She just oozes sexuality and I even found myself lured in by all of her celebrated, albeit achromatic, features.

    Farrell's contempt for Gilda is twofold. First off, he doesn't like her because it is revealed that they have a torrid history together. Secondly, and of prime importance in my opinion, Farrell sees too much of himself in her. Jumping from opportunity to opportunity, looking for the next path to fortune, Gilda is a manifestation of Farrell's ethos. Which draws both Farrell's fascination and ire. In one of their more passionate exchanges, Farrell accuses of Gilda of using Mundson for personal gain, to which she responds "That wouldn't be the big pot calling the little kettle black, now would it?" They develop a deeply passionate love/hate relationship that brilliantly taps into the duality of a post-war mind.

    Vigor accents these themes with his use of shadows. Often Gilda and Jonny are cloaked in darkness. If they do happen to be seen in the light, their shadow is sure to be close by, prowling in the background. In one outstanding scene, when Jonny and Gilda appear to have been found out by Mundson, Vidor frames the shot so the cuckold is close to the camera, a large shadow looming in judgment over the accused. In the same shot, Gilda walks to the back of the frame before addressing her husband, drenching herself in darkness. Vidor's visual language gives a whole other meaning to the term "shady people."

    It is not a perfect story. In fact, I found the ending to be rather slapdash and saccharine. Yet, it is quite an entertaining sexually charged noir. If nothing else, it will help you better understand what had all of the men gawking in "The Shawshank Redemption. "
  • fb1341085175
    October 8, 2011
    fb1341085175
    The camera was in love with Rita Hayworth and she made sure we noticed it. One of the best noirs out there with probably the most strange case of a mčnage a trois ever seen in a Hollywood pic.
  • ajv2688
    October 21, 2010
    ajv2688
    Gilda stirs up trouble between two men who love her. An interesting, but slightly unoriginal.
  • MeetMeinMontauk
    June 21, 2010
    MeetMeinMontauk
    I'm not sure what it was, but I was just NOT captured by the story at all. I was just kinda bored and followed along, but was not captivated by the story or characters.
    However, it was gorgeously shot and Rita Hayworth is, well, Rita Hayworth! She is about as classy as a woman ca... read moren get. It's a beautiful noir and for those things alone, I'll give it 3.5 stars, but the story doesn't really measure up to that. Also, I gotta say that every third word was "Johnny". Exhausting.
  • groaningbitch
    March 20, 2010
    groaningbitch
    the best pleasure of watching gilda is undeniably rita hayworth's two musical episodes. "put the blame on mame" and "amado rio"...hayworth's superbly choreographed dance, her natural fluent rhymes of dance and her radiant looks tend to tantalize every gaze, and she's turned into ... read morethe ultimate personification of vital youth and flowery beauty, for which she stands out in the galaxy of bombshells as well as femme fatales and she's gonna make everyone (at least male) in the audience seat a willing sap for her impeccable feminine allure...as if you cannot resist the gentle touch of her handsomely wavy reddish hair which capitivates you with an imagined rosy scent which might as well infiltrate into the bottom of your soul with a sheer essence of fascinaion to arouse a turbulent desire in you (since you cannot smell her hair but imagine how it spells)..even she cannot kick ass and wisecrack back as tough broads like babara stanwyck, but rita still manages to intimidate simply by her beauty. after all, beauty does intimidate.

    the story is a love-triangle between a scar-faced casino owner, his sensational wife gilda and the loafing-gambler-turned-casino manager glenn ford. except the sexual antagonism between hayworth and glenn ford, the whole picture is a clumsy mess with absurd settings and unreasonable plots. first of all, the backdrop is argentine, a nightclub(which sounds noir) and the casino boss' mansion..second of all, the scenes just shift between nightclub and the mansion as you watch glenn ford chases rita hayworth back and forth in that several sets. then? but you will not complain because the idea that "hate is a very exciting emotion" still have some charm to keep your attention in this film. and the happy ending appears all too sudden without a bit of believability but audience will not complain, after all..it is GILDA.

    the neglected aspect of this movie will be its possible queer undertone which a friend of mine suggests..and the more i watch into the movie, the more i'm inclined to agree over that aspect. most people tend to assume that two men vie for the smashingly beautiful gilda, and glenn ford hates gilda because she ruffles his heart by constantly enticing his jealousy and also because he cannot break free of gilda's love spell....those facts are mostly correct except the part on gilda's husband...who might be bisexual.

    okay, here's the deal, in the outset of the movie, george macredy, who plays gilda's husband and glenn ford's boss, picks up ford in the slums and lures ford into his casino, then ford's offered a job as manager, and these two men keep tossing to "the three of us" in their conversations. then when ford's introduced to the eye-grappling gilda, ford seems to be upset because he doesn't expect the other woman to occur in his pact with macready...in one dialogue, gilda even askes macready, "what do you pick up this time, a man or a woman?" macready responds with "a boy" and he likes the way ford grows up into a man from a boy...doesn't that obviously suggest an unspoken understanding that gilda knows that she and ford are both picked and kept by macready as "mistresses"...and the character macready seems to have a peculiar way to express his bitter jealousy as if he's more sore over the fact that gilda seduces away his new conquest of love interest and ford, on the other hand, feels guilty because he cannot live up to his side of bargain with macready due to the involvement of gilda: ford's angry because he cannot remain his faithful affactions toward macready who he's supposed to love...at last, macready entraps his two "mistresses" for a double-cross because these two discriminate him as the outsider of their flamy passion, so he loses the sexual omnipotence which is depriven by gilda. in a nutshell, "gilda" is not as straight as you think..ha.
  • flixsterman
    December 13, 2009
    flixsterman
    Rita Hayworth's many talents are swell compensation for a slightly meandering and disjointed screenplay. It's one of her most memorable roles and deservedly so.
  • McKittrick
    September 27, 2009
    McKittrick
    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 moreene 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 ŕ 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!
  • romy861
    September 12, 2009
    romy861
    Had wanted to see this for a long time, so I was glad to see it shown on tv. If you like old movies, this is definitely one to check out. I loved the scene with Rita Hayworth singing in the nightclub. Characters not all that likeable, but a good movie.
  • garyX
    May 25, 2009
    garyX
    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 morey 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.

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Critic Reviews

Philip French
July 24, 2011
Philip French, Observer [UK]

A wonderfully perverse noir classic... Full Review

Charlotte O'Sullivan
July 22, 2011
Charlotte O'Sullivan, This is London

Cast and crew spin a twilight magic. Full Review

Allan Hunter
July 21, 2011
Allan Hunter, Daily Express

No wonder we all feel nostalgic for the past. Full Review

Peter Bradshaw
July 21, 2011
Peter Bradshaw, Guardian [UK]

A real 1940s Hollywood treat. Full Review

Tim Robey
July 21, 2011
Tim Robey, Daily Telegraph

Examples of film noir don't come much headier or more perverse than Charles Vidor's sultry little number... Full Review

Tony Sloman
July 21, 2011
Tony Sloman, Radio Times

If you've never seen it, it's about time. Full Review

Philip Kemp
July 12, 2011
Philip Kemp, Total Film

"There never was a woman like Gilda!" drooled the posters - and no, there probably wasn't. Full Review

Sean Axmaker
December 21, 2010
Sean Axmaker, Parallax View

[Rita] Hayworth's sudden yet glorious entrance is pure Hollywood starmaking... Full Review

Steve Crum
March 22, 2008
Steve Crum, Video-Reviewmaster.com

It put Glenn Ford on the movie star map, and reinforced Rita Hayworth's seamy stardom.

Emanuel Levy
February 1, 2007
Emanuel Levy, EmanuelLevy.Com

Featuring Rita Hayworth in her best--and sexiest-- performance, this post WWII noir romance centers on one of Hollywood's most bizarre triangles, one ripe with S&M as well as homoerotic overtones--a g... Full Review

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    • Gilda Mundson: If I'd been a ranch, they would've named me the Bar Nothing.
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