![]() ![]() Maté and director Charles Vidor (no relation to the somewhat more famous King Vidor) also do good work with the film’s opening: when I think of film noir, I think of a hardboiled voice-over and chiaroscuro lighting. Similarly, the film’s main setting is another major asset. The hotel’s illegally-run casino is a tremendously evocative location, a Bond-esque landscape of tuxedoed men around roulette tables with the lights on and a gloomy cavern after hours. Veteran art director Van Nest Polglase (six Oscar nominations) gives the place character with details like patterned glass and intricate wrought iron balustrades.Īs a collection of solid parts that quite don’t gel together, Gilda is kind of a hard film to judge. ![]() It’s a certainly better than the previous two films I’ve covered in this retrospective, and Rita Hayworth was certainly incredibly attractive, but I never really found the story or characters compelling.įun Fact: Gilda was entered into the first ever Cannes Film Festival.The impact of Michael Curtiz’s Casablanca was so profound and widespread, that it only took four years for a younger, more rebellious sibling to make its way into the world. Charles Vidor’s Gilda (1946) bears more than a passing resemblance to its predecessor whilst oozing an erotic pizzaz in lieu of patriotism. ![]()
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