Gilda

‘Put the Blame on Mame’ goes Rita Hayworth’s signature song in this film noir classic from 1946. Well, I put the blame on the BFI’s fire alarm drill for crudely interrupting the media screening during one of the movie’s most exciting moments (and there are many)!

Based on the story by E.A. Ellington and adapted by Jo Eisinger from a screenplay by Marion Parsonnet, Gilda has it all: lavish production standards, a killer plot and show-stealing performances from the movie’s main actors Rita Hayworth, Glenn Ford and George Macready.

In Buenos Aires, Johnny Farrell (G. Ford) is rescued from a robbery attempt by wealthy club owner Ballin Mundson (G. Marcready), a crooked German casino-proprietor. After some persuading from Johnny, he is employed to work at his new boss’ illegal gambling paradise and soon enough he’s introduced to Mundson’s spoiled and glamorous new wife Gilda (R. Hayworth). If the phrase “Here comes trouble” ever was coined for anyone, then it sure was coined for Gilda – the ultimate femme fatale! Apparently hating each other no end, it eventually turns out that Johnny and Gilda knew each other before the ‘introduction. In fact, they used to be lovers - although it was a romance that ended on a bitter note and in tears. But there’s a thin line between love and hate and gradually yesterday’s passion emerges again – making Johnny more and more jealous over Gilda’s many lovers which she keeps on the side. Her husband, who pretends to be oblivious to the fact that his beautiful wife may have married him only for his money, soon senses that there’s a thing going on between Johnny and Gilda. When indeed he secretly witnesses the two sharing a kiss, their fate seems sealed… with deadly consequences.

Boasting some unforgettable song- and dance numbers by Hayworth and a hilarious ‘comic relief’ performance by Steven Geray as grumpy but likeable casino washroom attendant Uncle Pio, Gilda is up there with the best! Quite frankly, they don’t make ‘em like that anymore, so here’s your chance to see this jewel in an all-new digital cinema presentation (effectively showcasing cinematographer Rudolph Maté’s lush b/w photography).

Catch it on the big screen at the BFI Southbank, the Irish Film Institute and other key cities throughout the UK.