Movie Classic : Gilda {1946 - Original Version - 2024 - Re-issue New Version - 4K RESTORATION} *****

Starring : Rita Hayworth, Glenn Ford, George Macready and Joseph Calleia

Director : Charles Vidor

Duration Running Time : (approx) 1 Hour 50 Minutes. (110 Mins)

Certification Rating Certificate : 'A' [1946]. PG [2024]

Distribution : Columbia Pictures Corporation {1946}, Columbia Pictures Corporation, Sony, Sony Pictures International Releasing, Park Circus {2024}

The history of 'FILM NOIR' in question, is in fact classed as a cinematic term that's also used as a concept and also to describe a unique style of filmmaking that's also characterised by its main themes including dark, cynical, and also its visual styles that's also used in many films throughout.

Here what follows is a brief overview of its unique history :

ORIGINS AND INFLUENCES :

A : THE 1930'S - The roots of 'FILM NOIR' can actually be at least 'traced back' to the 1930's, with in fact many influences from the following such as 'German Expressionism', 'French Poetic Realism', and also 'American Hard-Boiled Crime Fiction'.

B : THE 1940'S -1950'S - This unique period, in question, is considered by many as the 'classic-era' of film noir. Now, the unique term of 'film-noir' was in fact 'first coined' by Nino Frank, a French critic back in 1946. Many films from this 'era' in question had in fact often featured many 'themes' including 'cynical heroes', 'stark lighting effects', 'intricate plots' and also an 'underlying existentialist philosophy'.

KEY CHARACTERISTICS :

A : VISUAL STYLE - 'FILM NOIR' - in question, is also known for its 'low-key, black-and white cinematography,'chiaroscuro lighting', and also 'unconventional camera-angles',

B : THEMES - Many common themes relating to this 'genre' in question also include the following - such as - 'moral ambiguity', 'corruption', 'betrayal', and also 'doomed characters'. As for 'PROTAGONISTS' - well they often included - 'private investigators' {'PI's}, 'plain clothes police officers', 'ageing boxers', and also 'femme fatales'.

NOTABLE FILMS :

'THE MALTESE FALCON' [1941] Director : John Huston (this was his directorial debut) and featuring Humphrey Bogart, Mary Astor, Gladys George, Barton MacLane, Peter Lorre and Sydney Greenstreet.

Based on the novel by Dashiell Hammett, and also originally published back in 1930, this film in question, is often 'cited' as 'one of the earliest examples of film noir'.

'DOUBLE INDEMNITY' [1944] Director : Billy Wilder and featuring Fred McMurray, Barbara Stanwyck and also Edward G.Robinson.

This movie in question, based on the novel by James M. Cain, which by the way, both Wilder and also Raymond Chandler had 'adapted the novel into an eight-part serial' in 'LIBERTY' magazine back in 1936, eight years earlier before the movie - plus the main title of the movie - simply refers to a 'DOUBLE INDEMNITY' clause - which also 'DOUBLES' life assurance payouts when death simply 'occurs' in a statistically rare manner.

'OUT OF THE PAST' - [aka 'BUILD MY GALLOWS HIGH - ORIGINAL BRITISH FILM TITLE - 1947] Director : Jacques Tournier - and featuring Robert Mitchum, Kirk Douglas,Jane Greer and also Rhonda Fleming.

This film in question is simply known for its ''complex plot and also dark atmosphere'' - plus in 1984, - that the film was 'REMADE' as 'AGAINST ALL ODDS' - directed by James Bridges - with Rachel Ward, in the role that Greer featured in with Jeff Bridges as the character that Mitchum portrayed, in the original, James Woods as the character that Douglas also portrayed in the original as the villain - as for Greer herself, well she portrayed as the mother of the original character featured in the 1947 original - and also there was Richard Widmark -in a supporting role as well - plus also that Ward was also one of the stars of 'SHARKY'S MACHINE' (1981),as Domino, this was also an 'Neo-noir' action thriller directed by and also featuring Burt Reynolds, with a supporting cast including Charles Durning, Brian Keith, Vittorio Gassman, Earl Holliman, Bernie Casey, Henry Silva, Darryl Hickman, Richard Libertini and also Joseph Mascolo.

LEGACY AND NEO-NOIR :

THE 1960'S TO THE PRESENT DAY :

While the 'classic era of film-noir' ended in the late 1950's' - its influence persists in 'modern cinema' - through the 'sub-genre' known as 'NEO-NOIR'.

'NEO-NOIR' films in question, often incorporate 'noir elements' - but are also set in - contemporary times - and also use color cinematography.

FILM NOIR in question, has also left as 'a lasting impact on global cinema' inspiring 'filmmakers' and also audiences' alike - with its 'dark, stylised, storytelling'.

THE HISTORY OF NEO-NOIR FILMS :

'NEO-NOIR' in question, - is also classed as a genre - that simply revives the themes - and also the visual style of classic film noir, but also with updated content, themes, and also the techniques.

Here what follows is a 'brief history' of Neo-noir films :

'THE ORIGINS AND ALSO THE EVOLUTIONS'

THE LATE 1960'S :

The unique transition from 'classic-noir' to 'Neo-noir' - began in the late 1960's, as filmmakers began to experiment with color and also new narrative structures, moving away from the strict conventions of classic noir.

THE 1970's -1980's :

'NEO-NOIR' in question, had also gained prominence during this unique period, with movies such as 'POINT BLANK' {1967} directed by John Boorman featuring Lee Marvin, Angie Dickinson, Keenan Wynn and Carroll O'Connor - and adapted from the crime pulp novel entitled as 'THE HUNTER' by Richard Stark - originally published in 1963, and also 'CHINATOWN' {1974} directed by Roman Polanski, produced by Robert Evans, with an outstanding screenplay written by Robert Towne, and featuring an all-star cast cast including Jack Nicholson, Faye Dunaway, Burt Young, Diane Ladd, Perry Lopez,John Hillerman, Roy Jenson, James Hong, Beulah Quo, Bruce Glover, Joe Mantell, Dick Bakalyan, Darrell Zwerling and also John Huston. These films in question, had also incorporated noir elements - but had also addressed contemporary issues as well as modern filmmaking techniques.

1990's - THE PRESENT DAY :

'NEO-NOIR' continues to evolve like 'BLADE RUNNER 2049' [2017], featuring Ryan Gosling as 'K' {short for serial number KD6-3.7}, a Nexus-9 replicant, who works for the Los Angeles Police Department - 'LAPD' as a 'BLADE RUNNER' - an officer who also hunts and also ''retires'' [kills] rogue replicant models, and also Harrison Ford ''reprising his original role'' as Rick Deckard, a fictional character and also the protagonist of 'DO ANDROIDS DREAM OF ELECTRIC SHIP' originally written by Philip Kindred Dick's 1968 original novel, directed by Denis Villeneuve, the long-awaited follow-up to 'BLADE RUNNER' [1982], originally directed by Sir Ridley Scott, and who was also an executive producer on the follow-up to the original movie, and also 'NIGHTCRAWLER' {2014}, written and also directed by Dan Gilroy, and featuring Jake Gyllenhaal as Louis 'Lou' Bloom, a unhinged 'stringer' (in the world of journalism - is uniquely classed as a freelance journalist, photographer, or even a videographer, who uniquely contributes reports, photos, or even videos, to a news organisation, on an ongoing basis, but is also 'PAID INDIVIDUALLY' for 'EACH AND EVERY PIECE OF PUBLISHED OR EVEN BROADCAST WORK') - and then sell - 'THE EXCLUSIVE FOOTAGE' to a 'LOCAL' TV NEWS STATION, after seeking out morbid events late at night in downtown 'LOS ANGELES' - L.A. - thus pushing the unique boundaries of the genre - in question. Also 'MODERN NEO-NOIR FILMS' - often explore ''the many themes'' of the following - such as 'CORRUPTION', 'PARANOIA', and also 'MORAL AMBIGUITY', thus while incorporating 'ADVANCED TECHNOLOGY' and also 'DIVERSE GENRES'.

KEY CHARACTERISTICS :

VISUAL STYLE - Neo-Noir films often use - 'LOW -KEY LIGHTING', 'SHADOWS', and also 'UNUSUAL CAMERA ANGLES' -to create a dark and moody atmosphere.

THEMES - Common themes also include - 'MORAL AMBIGUITY', 'REVENGE', and also 'ALIENATION' - Protagonists are often conflicted anti-heroes trapped in many difficult situations and therefore are also making simple unique choices out of desperation or even nihilistic moral systems.

NARRATIVE TECHNIQUES - 'NEO-NOIR FILMS' in question, may also use nonlinear storytelling, flashbacks, and also unreliable narrators to add some complexity to the original plot line itself.

Neo-Noir, in question, has also become a significant genre in modern day cinema, reflecting the many changing societal concerns and also technological advancements whilst also maintaining the unique essences of classic film noir.

Back in September 2013, about eleven years ago, I attended a 'UNIQUE SPECIAL EVENT' held at the Cornerhouse Cinema, an INDEPENDENT cinema, that's originally situated in the heart of Manchester City Centre, and that the event 'THAT I PERSONALLY ATTENDED' was in fact 'A 24-HOUR NOIRATHON' - this was actually a unique collection of at least 'ELEVEN CLASSIC FILM NOIR MOVIES' lasting at least 'TWENTY-FOUR HOURS' inside an INDEPENDENT cinema, watching many classics in the dark, and which I can only described as 'THE GREATEST DAY IN MY ENTIRE LIFE'.

Just for the record, the difference between 'AN INDEPENDENT CINEMA' and also 'A MAINSTREAM CINEMA' are as follows :

That both 'INDEPENDENT' as well as 'MAINSTREAM' also differ in many key aspects, including the following such as 'funding', 'production', 'distribution', and also 'content'.

'INDEPENDENT CINEMA'

FUNDING : Financed outside the major studio system, often through private investors, crowdfunding, or also smaller production companies.

PRODUCTION : Generally lower budgets, allowing for more creative control and also experimentation, also often includes emerging talent.

DISTRIBUTION : Limited release in selected theaters/cinemas, also film festivals, as well as direct-to-streaming platforms.

CONTENT : This focuses on unique, niche stories, that also might not appeal to a wide-mass audience - and also often more artistic and also innovative.

'MAINSTREAM CINEMA'

FUNDING : Backed by major film studios - with large budgets for production and also marketing.

PRODUCTION : High production values - with many established directors, actors, and also crews involved.

DISTRIBUTION : Wide release in movie theaters/cinemas worldwide, extensive marketing campaigns, and also the availability on multiple platforms.

CONTENT : This is particularly aimed at broad appeal, featuring many familiar genres, big-name stars, and also commercial success.

Both types of cinema also play essential roles in the film industry, by simply offering a 'unique diverse viewing experiences' for audiences throughout.

Now the 24-Hour 'NOIRATHON' in question, also featured a unique collection of classics among many included 'DOUBLE INDEMNITY', 'THE KILLERS' (the 1946 version - featuring Burt Lancaster), 'BOUND'(1996 - directed by the Wachowski's - Lana and also Lilly), 'NIGHT MOVES' (1975 - directed by Arthur Penn - featuring Gene Hackman) plus 'OUT OF THE PAST' 1947, and also 'THE BIG SLEEP' (1946) which was the 11th and final movie of the '24-Hour Noirathon, directed by Howard Hawks, and featured both Humphrey Bogart and also Lauren Bacall - which I've only ever seen at least 'TWICE' in my life.

However, one of the films that was featured during 'THE 24-HOUR NOIRATHON' was a film that I would like to not only review -but also - THE ONE - which - I HAVE ALSO SEEN TWICE - in my life - and that film is 'GILDA' - which by the way is being 'REISSUED' and also returning back to movie theaters/cinemas in a new 4K RESTORATION print this November so that the picture quality is not only great but also shines out when you see Rita Hayworth up close and personal on the big screen - that when you see her - you'll wish that you'd a gigantic poster of her hung up in your bedroom that's originally located in your establishments.

This is simply classed as a 'film-noir' black and white classic movie, originally released back in 1946, it is directed by Charles Vidor and features Rita Hayworth, Glenn Ford, George Macready and also Joseph Calleia.

Now, the story in question, is set in Buenos Aires, Argentina, and simply revolves around Johnny Farrell {Ford}, a small-time gambler, and also an American who arrives at the casino and wins a lot of money cheating at ''craps'' - this is classed as 'a dice game' and in which 'the main players' in question, simply bet on the outcomes of the role of a pair of dice'.

However, Johnny is soon rescued from a robbery attempt at the casino in question by Ballin Mundson {Macready}, a complete stranger, and that although Farrell in question, is 'warned not to cheat at an illegal high-class casino' that Mundson in question, simply tells him about, it is then that Farrell soon ignores Mundson's advice.

But then, Johnny in question, soon wins at ''blackjack'' - this is simply classed as a 'casino banking game' - and it is there that Johnny is taken to see the owner of the casino in question, which also turns out to be Mundson himself, but soon Farrell then talks Mundson into 'hiring' him - and that Farrell soon becomes Mundson's trusted casino manager.

Now, the plot of the story soon thickens, when Mundson, in question, soon returns from a trip and also announces that he has 'an extremingly beautiful new wife' called Gilda {Hayworth}, and to whom that he has married only knowing her - ''as you do'' - for just 'one day'.

It is that at this point, that both Johnny and Gilda both instantly recognise each other from the past - as they were both former lovers - although both of them deny it when Johnny questions them, however Mundson then '''assigns''' Farrell - to simply watch over Gilda - but also that ''the pair'' in question - are in fact - ''consumed with hatred'' for each other, and that Gilda in question, ''cavorts'' with men - at all hours - in an increasingly more blatant efforts to enrage Johnny, and that also in return is that he also grows more spiteful towards her.

Also involved in this story is Mauricio Obregon, {Calleia}, an Argentinian police detective, whose unique performance in the film, is quite simply often praised for its unique intensity and also depth - plus his unique character as the police detective, in question, simply adds as a unique layer of complexity to the atmosphere of film noir, and also therefore by making his unique character in the film - quite both memorable - and also a unique pivotal - to the film itself.

'GILDA' - the film in question - was developed by Virgina Van Upp, an American screenwriter and also a film producer, as a 'vehicle' for Hayworth, who, by the way, had in fact mostly been known for her roles in 'musical comedies' at that time, and that the story in question - was in fact originally going to be set as 'an American gangster film' directed by Edmund Goulding.

However, the 'location' of the story was then 'CHANGED' to Buenos Aires - after - 'OBJECTIONS' - from Joseph Breen, a film censor, and also the replacement of Goulding with Charles Vidor taking over as film director.

'GILDA' - was filmed from September 4-December 10, 1945, lasting at least 'ninety eight days' or 'three months and six days', but it was that during filming, it appears that both Hayworth and also Ford, the main stars of the picture, had began 'an extensive affair' between them that would last until Hayworth was 'diagnosed' with 'ALZHEIMER'S DISEASE' in the early 1980's.

Interestingly, Hayworth's 'introductory scene' was in fact - ''SHOT'' - ''TWICE'' - and that while the action of her ''popping her head'' into the frame of the movie, and also that the subsequent dialogue ''remains the same'' - as she in question - is in fact dressed in ''different costumes'' - notably - in a striped blouse and dark skirt - in one film print - and also ''the more-famous off-the-shoulder dressing gown in the other film print.

Also the many songs such as 'PUT THE BLAME ON MAME' as well as 'AMADO MIO' was in fact 'LIP-SYNCHED by Hayworth herself, but was actually ''DUBBED'' by Anita Kert Ellis, although Hayworth herself, was actually 'CREDITED' for the songs in question, however, Ellis, herself, also had a successful career in radio as well as music, and that she was also a regular who appeared on several radio shows of her time as well as she also released several albums throughout her career.

Just for the record, in 'THE SHAWSHANK REDEMPTION' {1994}, directed by Frank Darabont, and featuring a cast consisting of Tim Robbins and also Morgan Freeman - there's also lies a notable excerpt that's originally inspired by the 'novella'' entitled as 'RITA HAYWORTH AND THE SHAWSHANK REDEMPTION' by Stephen King .

Now the film in question opens with a scene and set in 1946, where Andy Dufresne {Robbins}, is in fact 'wrongly accused' of murdering his wife and her lover' - plus 'this scene' in particular - is also 'FRAMED' that's complete with a backdrop of a romantic 'noir, atmospheric, reminiscent of films such as 'GILDA' {1946}, and that the ''excerpt'' in question, also captures the tension, as well as the emotional turmoil, relating to the original character concerning Andy Dufresne, by simply paralleling the dark, dramatic style of classic film noir, for this is in fact a powerful opening that also sets the tone for the rest of the movie lasting at least 'two hours and twenty two minutes' {142 minutes}, and also which that despite the film as an epic movie' - the novella is regarded as a 'short-story'.

But then there's 'that unique moment' in the film, and where all the prisoners inside the State Penitentiary where Dufresne is 'SERVING TWO LIFE SENTENCES - ONE FOR EACH OF THE VICTIMS' and its where that over 'THE NEXT TWO DECADES' that Andy befriends Ellis 'Red' Redding {Freeman}, a fellow prisoner, and also a contraband smuggler, and that Dufresne in question, becomes instrumental in a money laundering operation led by Samuel Norton {Bob Gunton},plus the likes of Clancy Brown, William Sadler, Gil Bellows and especially James Whitmore Jnr as Brooks Hatlen, the elderly prison librarian, imprisoned at Shawshank, for over at least 'FIVE DECADES' all give memorable performances throughout.

Anyway all the prisoners inside the 'STATE PENITENTIARY' are watching 'GILDA' in 'THE SHAWSHANK REDEMPTION' is truly classed as 'an iconic scene'. But also that its at that point in the movie - and also where you get to see 'THE FAMOUS SCENE' where Rita Hayworth herself performs 'PUT THE BLAME ON MAME' - her 'unforgettable' number.

Now Dufresne simply 'orchestrates' this, and that it always symbolises this as 'a brief escape' from the grim reality of prison life, for these are the movies in question that ''bridge together'' these two classic movies - by 'enhancing the unique depth and also the relatability of 'both these stories'.

Rita Hayworth's presence throughout on the big screen also captivates the 'prisoners' in question by simply offering them a fleeting sense of freedom and also normalcy, and that 'the unique scene' in question is also memorable for its emotional impact and also the glimpse that it simply offers into the prisoners' lives.

'RITA HAYWORTH AND THE SHAWSHANK REDEMPTION' [aka 'HOPE SPRINGS ETERNAL'] by King himself in question, was also comprised into a collection of stories entitled as 'DIFFERENT SEASONS' that was originally published back in 1982, and that the other 'three stories' involved in the publication include the following such as -

'APT PUPIL' [aka 'SUMMER OF CORRUPTION'], This novella in question is set in the 1980's, in Southern California and also follows Todd Bowen {Brad Renfro}, a high-school student who simply discovers that Kurt Dussander {Sir Ian McKellen - Gandalf - in both 'THE LORD OF THE RINGS' and also 'THE HOBBIT' film trilogies}, his elderly neighbour, who also happens to be a fugitive former Nazi war criminal living in his neighbourhood under the pseudonym of Arthur Denker. Bowden, who's obsessed with Nazism and also 'ACTS OF THE HOLOCAUST' then persuades Dussander to share his stories, and also that their unique relationship becomes quite disturbing - the film was directed by Bryan Singer.

'THE BODY' ['FALL FROM INNOCENCE'] The story in question, revolves about 'four young boys' notably Gordon 'Gordie' Lachance, Chris Chambers, Teddy Duchamp, and also Vern Tessio, who all go on 'an epic journey' only to find 'the body' in question, of a 'missing' boy. This 'novella' in question originally published back in 1982, as 'THE BODY' was in fact 'adapted' into the beloved film 'STAND BY ME' originally released in 1986, directed by Rob Reiner, and featured Wil Wheaton, River Phoenix, Corey Feldman, Jerry O'Connell, with Casey Siemasko, John Cusack, Bruno Kirby, Kiefer Sutherland, and also Richard Dreyfuss as the adult version of Gordon - but is also 'credited' as 'THE WRITER', plus the original title of the film in question is also 'deriving' from the song of 'the same name' by Benjamin Earl King, an American soul R&B singer, and also a record producer as well.

'THE BREATHING METHOD' ['A WINTER'S TALE'], This unique tale, in question, is set in 'a medical club' - and where a doctor tells a story about a woman determined to 'give birth' - 'despite all the odds'. This 'novella' - in question - has not been adapted into a film - ''yet''.

This 'unique' collection, in question, also showcases King's versatility as a writer - and has also been praised for its compelling storytelling - and also its emotional depth.

Anyway, 'THE FINAL REVIEWS' for the '2024 REISSUE' of 'GILDA' - 'THE 1946 ORIGINAL' - have been classed as 'QUITE POSITIVE' - and also highlighting its unique enduring appeal - and also the timeless performances of its unique cast.

Many film critics have also praised - ''THE FILM NOIR'S ELEMENTS'' plus the unique chemistry between Hayworth and also Ford - plus the film's visual style, the cinematography, the editing, and also the storyline, as well as both Hayworth and also Ford - are also superb - to watch - 'ON THE BIG SCREEN - FOR THE FULL-ON SUPER-CHARGED CLASSIC MOVIE-GOING EXPERIENCE.

But also that 'THE 2024 REISSUE' of the '1946 ORIGINAL' which has been particularly noted for its 'METICULOUS RESTORATION' -and which also brings out the film's original splendour.

Just for the record, 'the meaning of - 'METICULOUS RESTORATION' - is simply classed as a process of carefully and also precisely restoring something to its unique original condition or also its unique appearance throughout. However, in the context of films, that it also involves 'painstakingly' going through 'the entire film - frame by frame', 'also involves cleaning, repairing any damage, also correcting color, and also enhancing 'the quality of the finished product' in question - to match - or even 'surpass' the original release. This in turn, also ensures that 'modern cinema audiences' today - can in fact - 'experience the film, as it was originally intended to be seen, often with even unique more clarity - and also a precise detail of the film throughout.

This is not just a film-noir black and white classic - its also a unique masterpiece in the history of cinema.

DON'T MISS IT !

David M.G.Mitchell.