Gilda is Rita Hayworth’s film. She didn’t direct it, but it feels like it’s hers. It’s hers in the sense that she’s probably the first thing that comes to mind when recalling the movie. Part of that recall could be because the whole film is named after her character, but it mostly makes sense because it’s only when she appears that the noir drama becomes interesting. It’s her entrance that forces Johnny Farrell to face his past, pushing both him and Mr. Mundson into a tense, jealousy-fuelled stalemate that reveals the true cruelty lurking underneath both men. And as she seeks as much freedom as she can possibly have, Gilda subtly reinterpreted the femme fatale, whether or not Hollywood intended it.
"Practically all the s.a. habiliments of the femme fatale have been mustered for Gilda, and when things get trite and frequently far-fetched, somehow... there is always Rita Hayworth to excite the filmgoer."
— Variety Staff
A gambler discovers an old flame while in Argentina, but she's married to his new boss.
After being caught cheating dice, gambler Johnny Farrell talks his way into a job with casino owner Ballin Mundson, who happens to be married to Farrell’s ex-lover Gilda.
At first glance, it seems like Gilda is a femme fatale, with all the seductive powers that lead men astray. However, as the film goes on, that couldn’t be further from the truth. Sure, she said she tried to incite Johnny’s jealousy, but given certain toxic behavior, doesn’t it make sense that everything she says and does is in hopes for an escape?
Gilda deserves better!
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