Gilda

Turn up the heat, the coolness, the sex-appeal and the mysterious power of Rita Hayworth - all wrapped up in Buenos Aires, a Casablanca-like den of corruption, blackmail, sex, gambling, hustling and crime. If that sounds pretty good, it is. Con-man, cheat and hustler Johnny Farrell (a young and handsome Glenn Ford) finds himself swimming with sharks when an outstretched hand saves him from being robbed and possibly murdered. Savior Ballin Mundson (George Macready), a scarred, soft-toned man of mystery, keeps a blade concealed in his cane and operates an illegal gambling den. Farrell gets a job managing the place and all is smooth sailing until Mundson brings Gilda into the equation. Gilda has been "bought", and Mundson has married her - but despite his infatuation, Gilda, being none too different from Farrell and himself, soon starts to shake her cage and provoke Johnny - her jailkeeper. Just as Mundson suspects, the two have a history - the steamy heat between them will go on to create resentful recriminations, anger and mutual obsession.

The "tungsten monopoly" Mundson presides over is mere scaffolding to hang the silky frame of Hayworth and powerful posing of Ford on - and it allows added drama and danger to be introduced to the story. We get deadly German agents, gun-toting desperados that are being blackmailed and Argentinian investigators constantly in the mix, while attendant Uncle Pio (Steven Geray) hears and sees all. What's important is Gilda - portrayed by husky voiced Rita as confidant, self-assured and strong - with a hint of sadness. Hayworth was lip-synching the songs she performs in the movie, but all the same - her "Put the Blame on Mame" and "Amado Mio" are unforgettable. Something else that can never be forgotten are the various costumes Hayworth wears in this - black and strapless or glittering, they light up every new appearance from the actress (and were designed by Jean Louis - 14 Oscar nominations, and one win in 1957 for The Solid Gold Cadillac.) She dominates every scene she's in, and is a towering presence in Gilda.

So, what I learned in the end was how to watch Gilda - never mind about the plot, and just sit back to admire how good-looking everything is, and how every scene is suffused with either danger or sex. That goes for the first part of the story with Farrell and Mundson forming the bond they do - I'm with all of the people who see bisexual overtones. In the meantime, Rudolph Maté's cinematography is so much fun to watch. He's often willing to frame characters in silhouette, and utilizes clever and inventive movement. Everything is often bathed in soft light. The visual artistry is noticeable right from the opening scene, where we glide up through impenetrable floorboards to a low angle of Farrell rolling his trusty crooked dice, maintaining that perspective then slowly lifting and pulling back to reveal the number of back alley marks he's bravely hustling money from as he scoops the cash up. This is one noir that has in it's favour a wonderful visual component.

My only complaints with Gilda are that it's a little lengthy for a film noir classic, and that it also has an ending that feels absolutely wrong considering what it is. Those are far from deal breakers for me and this film however - I think it's fantastic, a pleasure to watch, and has everything a film of this type needs to burn up the screen. It's a movie that just wants to put sexual tension mixed with danger up there, so it gets right to it and keeps us enthralled by those two subjects from start to finish - I love watching Rita Hayworth and Glenn Ford do their stuff. I enjoyed seeing Ford's Farrell go from two-bit hustler to casino lieutenant, and the change in body language throughout conveys his increasing sense of power. I enjoyed Hayworth's way of sending what should be clear signals to men who are too dumb to pick up on them. (Jessica Rabbit in Who Framed Roger Rabbit was based on her character in this.) Her constant sexual innuendo is risqué for a film made in the era it was, and I love it.

So, is this one of the best film noirs I've ever seen? I'd have to say yes. Some come and go, and most are really enjoyable - but Gilda is going to stick with me. Rita Hayworth's low husky invitations to dance will ring in my ears. In the meantime Farrell really is one of the great hustlers in films - he has plenty of company, but none are quite as suave, boyishly good looking, solid and crisply well-spoken. Farrell and Gilda make for a great couple - even if Farrell is a little slow off the mark. As for Mundson - if you wear a scar like he does, and buy women when you fall for them, there's going to be no surprise to find out you're the villain in the end. Nothing in this film is really hard on the eyes - lending the steamy atmosphere a level of film-watching enjoyment that gives me the feeling that I should look out for this on the big screen. It falls short of being a Casablanca, but boy, it comes close. Turns out Humphrey Bogart was offered the role of Farrell - but he turned it down, saying "Everyone will be looking at Rita Hayworth!" Very astute, that man.