#1946 rita hayworth film movie
#1946 rita hayworth film archive
#1946 rita hayworth film software
#1946 rita hayworth film license

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#1946 rita hayworth film archive

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#1946 rita hayworth film license

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From her famed introduction, she embodies the so-called “male gaze” with that well-known toss of the head and off-the-shoulder gown.Īnd while they did a lot of singing in films back in the day, Hayworth’s big, splashy production of “Put the Blame on Mame” suggests a bigger budget than most films noir would have.The World's Largest Public Domain Media Search Engine

#1946 rita hayworth film movie

This movie is a very obvious vehicle for Rita Hayworth. Or it would work that way, if this were a typical film noir. Okay, we have a low-class guy working for a criminal and along comes this seductress, who’s obviously going to use her charms to lead someone to his doom. Their mutual dislike is also pretty obvious, too. When Gilda and Farrell meet, it’s obvious they know each other. In fact, exactly one day after meeting, the two got married. Out of the blue, Mundson returns from a trip with Gilda on his arm. Thus, we have a match made in heaven- right. Although things between them get off to a rough start, Farrell gains Mundson’s trust quickly after socking one of his hoods in the stomach, taking him down. A couple of hoods drag Farrell to the casino owner’s office. Mundson warns Farrell not to bring his dice there.įarrell goes there anyway (sans dice) and cheats at blackjack. He’s rescued by Ballin Mundson, a fancy looking guy, who tells him about a high-class casino.

Glenn Ford plays small-time gambler Johnny Farrell, who nearly gets robbed of money he won cheating at dice. I’ll just give you a summary of the set-up and what thoughts I can spare without ruining the movie if you haven’t seen it. It’s hard to get into why that is without completely spoiling the movie. Certainly not in the typical sense of those phrases. Her quest to uncover information about her past, coupled with Betty’s. PAL JOEY, Rita Hayworth, Frank Sinatra, Kim Novak, 1957 GILDA, Glenn Ford, Rita Hayworth, 1946 YOU WERE NEVER LOVELIER. Nor did Gilda come across as a femme fatale. In fact, she calls herself Rita only after looking at a poster for an old Rita Hayworth film, Gilda, from 1946. Rita Hayworth was born Margarita Carmen Cansino in New York City in 1918. And Rita Hayworth in the title role is supposed be “the ultimate femme fatale” (at least according to Wikipedia).īut I’ll be honest (and probably get lots of shit flack for it)-this movie did not strike me as a film noir.

I’ve been meaning to see this movie, because it’s supposed to be a film noir.