Gilda (1946)

Argentina to me is something I only know of through the Falklands. An 80’s impact that revolves around Thatcher needing a war proving he need for Greed and Simon Weston coming back proving our capacity for Grace. The setting as such as some sort of ersatz Casablanca in the 40s is something I have great confusion in navigating.

However, the story itself is one that is a noir staple. With our lead Johnny Farrell is so charmingly played by Glenn ford his own divided loyalties to his boss Ballin and his, it happens ex love Gilda, sensationally played by Rita Hayworth as the riches of fringe ethics and casino life looks set to burn them all.

Ballin Munson walks in with a sense of 40’s homo eroticism and British ;The avengers’ style panache one could think he was recruiting for the Kingsman, but his one note and need for control sadly codes become repetitive and while there is times he is a literal shadow of a being, it’s not one that over powers the film but rather a slim shade of a former glory. While I kept wishing I was watching George Macready play Alan Scott, the openly gay green lantern of World War 2, as a force within the film it was too trite.

Th style and strata’s of setting and fashion totally fulfils the frock porn I am an addict too. But towards the end Farrell is more feral than our man. The film sufferers towards the last function as it seems characters are thrown aside for no other reason than nothing to do with them. Once Johnny and Gilda are initially together it stumbles into non sequiturs and irrational swerves of character to pad time. 

But the last act does give us a real template to show Hayworth’s ability to sing and dance. Captivating show pieces of charm, elan and style. She oozes through the sparkle with her own heavy breath. Ionically at this point we have spent so much time with Gilda this is merely the icing, it’s almost as if Marlene Dietrich only turns up in the last ten minutes of the blue angel after she married the professor, like norms wife in cheers.

But it may be glen ford for who top billing, but Gulda is the title for a reason. Rita from the outset, for all her characters, confidence and fears. It’s always a reaction to her situation. She has a stunning look and a quick wit, but the single compelling infatuation aspect of her, she is totally committed to her own sense of self and her own skin. Indeed, as a man pushing 50, I grew up in a loaded bubble in the 90s of pin ups and frat based kinks. But frankly she ability to laugh and cry and still remain who she is was enamouring. I think there was even a point. For all the outfits and slinks. Pointless a quick leg up in the air to put on some tights and a hint of shin, I think I gasped out loud in the cinema. 

But my mother was croupier for a brief period. I was taught about gambling addicts and the other aspects of that life from the other side of it. The house always wins, and this is shown throughout the film. Aside from some mild stereotyping of; the local peasants; the style and action of ford and the sensual, intellectual beauty of Hayworth make compelling viewing for most of it. It’s the truncated ending that felt rigged and stale. But at this juncture they have your money.

So, it’s a great set of performances pieces but as noires go. Theres richer veins to explore.