Halloween Havoc!: CHRISTINE (Columbia 1983)

Stephen King turned 70 last month, and the Master of Horror’s grip on the American psyche is stronger than ever, thanks to the unprecedented horror hit IT!, now playing at a theater near you. King’s macabre novels have been adapted for the screen since 1976’s CARRIE with  varying degrees of success; some have been unabashed genre classics, others complete bombs, most lie somewhere in the middle.

Top: Stephen King 1983
Bottom: John Carpenter 1983

Director John Carpenter had a string of successes beginning with 1978’s seminal slasher film HALLOWEEN, but his 1982 remake of THE THING, now considered a masterpiece of the genre, was a box office disappointment. Carpenter took on King’s novel CHRISTINE as a work-for-hire project. I recently watched it for the first time, and think not only is it one of the best adaptations of King’s work to hit the screen, it’s one of Carpenter’s best horror outings as well.

Nerdy Arnie Cunningham and his best friend, jock Dennis Guilder are your typical late 70’s high school students, obsessed with cars, sex, rock music, and football. Arnie is the target of school bully Buddy Repperton and his posse of thugs, who get suspended after pulling a switchblade on the poor sap. But things change for Arnie when he’s drawn to a battered old ’57 Plymouth Fury, nicknamed ‘Christine’, which he buys from its creepy owner, elderly George Lemay, who inherited the wreck when his brother committed suicide in it.

Soon a change comes over Arnie, as he spends all his time lovingly restoring “Christine” to her former glory. He starts gaining confidence, and soon is dating the hottest chick in school, Leigh Cabot. His appearance and attitude also begin to change, morphing into a 50’s-style JD greaser, complete with pompadour and leather jacket! Strange things begin to happen when ‘Christine’ is around: Dennis gets injured on the football field, and Leigh is trapped inside the car at a drive-in, choking on her burger! When Buddy and his bullies extract revenge by trashing ‘Christine’, smashing it with sledgehammers and taking a dump on the dash. But ‘Christine’ and Arnie have developed a psychic bond: he tells the auto “Show me”, and Christine herself morphs back to her old self, dead set on revenge…

CHRISTINE is a whole lotta fun, with some marvelous, murderous set pieces devised by Carpenter. King’s material and Carpenter’s style mesh perfectly, aided and abetted by Bill Phillips’ pedal to the metal script and Donald M. Morgan’s crisp photography. ‘Christine’ herself, according to carponents.com , was played by 23 different autos, including a couple of modified Plymouth Belvederes and Savoys, allowing Ted Allen, Roy Arbogast, and the rest of the special effects team to create their “twisted” regeneration scenes. The roaring engine sounds were actually dubbed from a 1970 Ford Mustang!

Carpenter peppers his score with snippets from classic 50’s artists to accentuate the mood, including Johnny Ace (“Pledging My Love”), Danny and the Juniors (“Rock and Roll is Here to Stay”), Dion and the Belmonts (“I Wonder Why”), Thurston Harris (“Little Bitty Pretty One”), Buddy Holly (“Not Fade Away”), Ritchie Valens (“Come On, Let’s Go”), Larry Williams (“Bony Maronie”), and Little Richard (“Keep A-Knockin'”). You’ll also hear ABBA, The Rolling Stones, George Thorogood, and Tanya Tucker on the soundtrack, just not on ‘Christine’s’ radio – she only plays 50’s rock!

The cast was deliberately made up of at-the-time unknowns, chief among them Keith Gordon as the nebbish Arnie. Gordon went behind the cameras as a director of films (MOTHER NIGHT, WAKING THE DEAD) and television (DEXTER, HOMELAND). John Stockwell (Dennis) played in MY SCIENCE PROJECT and TOP GUN; he’s also a director today. Alexandra Paul (Leigh) is best known as Lt. Stephanie Holden on TV’s BAYWATCH. William Ostrander (Buddy), who looks like a cross between Jim Morrison and Vinnie Barbarino, later appeared in RED HEAT and MULLHOLLAND DRIVE. Oh, and speaking of Vinnie Barbarino, Kelly Preston has a role as hot-to-trot cheerleader Rosanne.

The adults in the cast include Robert Prosky as the gruff garage owner where ‘Christine’ is stored, Christine Belford as Arnie’s nagging mother, Roberts Blossom as the weirdo Lemay, and the late, great Harry Dean Stanton as State Police Detective Junkins, who’s investigating all the outlandish murders. CHRISTINE puts Stephen King and John Carpenter together for the first and only time, and it’s a match made in… well, you know! Add it to your Halloween viewing list, kick back, and enjoy the ride.

 

 

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Halloween Havoc!: DIE! DIE! MY DARLING! (Columbia/Hammer 1965)

Miss Tallulah Bankhead  jumped on the “Older Women Do Horror” bandwagon with 1965’s DIE! DIE! MY DARLING!, a deliciously dark piece of British horror from the good folks at Hammer. It was Tallulah’s first screen appearance since 1953’s MAIN STREET TO BROADWAY, and the veteran actress is a ball of fire and brimstone playing the mad Mrs. Trefoile, a feisty religious fanatic who locks up her late son’s former fiancé in an attic room in order to save her mortal soul.

Things start out innocently enough, as American Patricia Carroll (Stefanie Powers) travels to England to be with her new fiancé Alan Glentower (Maurice Kaufman). She’s received a letter from her deceased ex’s mother and agrees to pay her a visit, despite Alan’s protestations. Driving to Mrs. Trefoile’s ramshackle old farmhouse, Pat discovers the old woman’s more than a bit odd, holding daily church service for her servants, dressing all in black, and eschewing any food with flavor. Mrs. Trefoile freaks out when Pat wears a crimson outfit to dinner, insisting she change to a more conservative color immediately. Pat soon finds out Mrs. Trefoile considers Pat her daughter-in-law now – for life! Not only that, she locks Pat in an attic room and piles on the psychological and physical torture to convert Pat from her evil, secular ways. A deadly game of cat and mouse ensues as Pat desperately tries to escape from the gun-toting, Bible-spouting madwoman and her flock.

Tallulah has a field day as Mrs. Trefoile, performing sans makeup and her hair pulled severly back. It’s a bold change of pace for the glamourous actress, and Tallulah pulls it off in her own inimitable style. Mrs. Trefoile is the very model of sexual repression, and her devotion to her late son’s memory is illustrated as she talks to him and sleeps with his childhood teddy bear. A lesser actress would have gone over the top, but Tallulah manages to play things totally straight and creates one of the genre’s scariest psycho-biddies. She’s cast against type as the pious fanatic, as her sexual and hard-partying exploits were well documented by the press. Tallulah Bankhead made less than two dozen pictures, spending most of her career on the stage, but shows she was a master of movie acting with this juicy part.

Stefanie Powers is more than up to the task of acting opposite Tallulah as Patricia. DIE! DIE! MY DARLING! was made a year before Stefanie starred as TV’s THE GIRL FROM UNCLE, and is her best movie role. Later she teamed with Robert Wagner and veteran Lionel Stander for another hit series HART TO HART (1979-1984). Mrs. Trefoile’s servants include Peter Vaughn (GAME OF THRONES) as the lustful Harry, Yootha Joyce (HAVING A WILD WEEKEND ) as his powerful wife Anna, and a young Canadian named Donald Sutherland as the simple-minded Joseph. Wonder whatever happened to him?

Richard Matheson’s  screenplay takes it’s time building the suspense, slowly ratcheting things tighter and tighter for poor Pat until the final frightening crescendo. Horror fans are well aware of Matheson’s work in novels, short stories, film, and television. This was his only foray into ‘Grand Dame Guignol’ territory, and it’s one of the genre’s best. Director Silvio Narizzano made his feature film debut here; he’s best remembered today for the British hit GEORGY GIRL. Hammer Films’ original title to DIE! DIE! MY DARLING! was FANATIC, but when released in America Columbia changed it to play off Tallulah’s famed catchphrase (she called everyone “dah-ling”). Miss Bankhead was not amused, but by any name, this is a terrifying piece of work that belongs on your Halloween watch list. Bravo, Tallulah!

Halloween Havoc!: Joan Crawford in STRAIT-JACKET! (Columbia 1964)

It’s time once again to revisit Joan Crawford’s later-day career as a horror star, and this one’s a pretty good shocker. STRAIT-JACKET! was Joan’s follow-up to WHATEVER HAPPENED TO BABY JANE, the first in the “Older Women Do Horror” genre (better known by the detestable moniker “Psycho-Biddy Movies”). Here she teams for the first time with veteran producer/director William Castle , starring as an axe murderess released after twenty years in an insane asylum, becoming the prime suspect when people begin to get hacked to bits again.

The film itself begins with a 1940’s prolog depicting the gruesome events that occurred when Lucy Harbin (Joan) catches her husband (Lee Majors in his uncredited film debut) in bed with another woman. Joan, all dolled up to resemble her MILDRED PIERCE-era self, grabs the nearest axe and CHOP! CHOP! CHOP! goes hubby and his squeeze into itsy-bitsy pieces. The act is witnessed by her little daughter Carol (Vicki Cos), and Lucy is put away for a long stretch in the nuthouse.

Flash forward twenty years, and Lucy returns home to stay with her brother Bill (Leif Erickson), and his wife Emily (Rochelle Hudson ) who’ve raised Carol (now played by Diane Baker) ever since. Carol, now a budding sculptress, has a fiancé Michael (John Anthony Hayes) she wants Mom to meet, but Lucy’s still skittish, so Carol decides to help by glamming Lucy up to look like she did in the fabulous 40’s! Strange things happen after that, with Lucy’s old psychiatrist getting CHOPPED, then the sleazy farm hand (George Kennedy ), finally Michael’s dad – CHOP! CHOP!, and Michael’s mom is up next before the climax that most horror fans will see coming a mile away.

Joan’s silent film training comes in handy, as the consummate screen star gets to emote with her eyes and body language in many scenes. Crawford is in complete control as the is-she-or-isn’t-she killer, and besides BABY JANE this is her best horror picture. The scenes with Joan all decked out in 40’s fashions and bewigged are a little silly, especially when a tipsy Joan tries to seduce her future son-in-law, but it’s all part of the plot written by another horror vet, Robert Bloch (PSYCHO, THE HOUSE THAT DRIPPED BLOOD ). Castle lends his own macabre touch, with decapitations and some gripping suspense. The Master of Ballyhoo’s gimmick to put patrons in the seats this time around involved passing out little cardboard axes to theater goers, and Joan even participated in a personal appearance tour to promote the film.

Diane Baker had worked with Joan before, in 1959’s THE BEST OF EVERYTHING, and the two women have a marvelous screen chemistry. The rest of the cast is filled with old pros like Erickson, Hudson, and Edith Atwater as Michael’s rich-bitch mother. This was only George Kennedy’s sixth film, but he holds his own as the creepy farm hand who winds up with his head lopped off. STRAIT-JACKET! had an impact on the later slasher shockers to come, and is more than worth your time this Halloween season, especially for fans of the great Joan Crawford.

 

 

Rockin’ in the Film World #12: The Monkees in HEAD (Columbia 1968)

The Monkees (Davy Jones, Mickey Dolenz, Peter Tork, and Mike Nesmith) brought rock’n’roll to TV with their mega-successful 1966-68 musical sitcom. Inspired by The Beatles’ onscreen antics in A HARD DAY’S NIGHT and HELP!, producers Bob Rafelson and Bert Schneider cast four fresh-faced youths (Jones was a Tony nominee for OLIVER!, Dolenz had starred in TV’s CIRCUS BOY, Tork and Nesmith were vets of the folk-rock scene), hired some of the era’s top songwriters (Gerry Goffin & Carole King, Tommy Boyce & Bobby Hart, Neil Diamond, Harry Nilsson) and session musicians (Hal Blaine, James Burton, Glen Campbell  , Carol Kaye), and Monkeemania became a full-fledged teenybop pop phenomenon.

Detractors (and there were many) in the music biz called them ‘The Pre-Fab Four’, looking down their noses at The Monkees while looking up as hits like “I’m a Believer”, “Daydream Believer”, and “Pleasant Valley Sunday” climbed to the top of the charts. But like all fads, Monkeemania quickly died out, and NBC cancelled the show in 1968. Rafelson, Schneider, and the group (who by this time were writing and playing their own music) decided an image makeover was needed, and together with co-screenwriter Jack Nicholson (yes, THAT Jack Nicholson) concocted the psychedelic, surrealistic feature film HEAD.

The movie is a completely plotless, colorful swirl of imagery, blackout skits, and satire focusing on The Monkees’ attempt to be taken seriously. To try and describe this mélange of trippy 60’s bizarreness would be pointless, which features everything from clips of film classics (Bela Lugosi in THE BLACK CAT, Rita Hayworth in GILDA ), footage of Monkee concerts and the Vietnam War, spoofs of movie genres (westerns, boxing epics, war films, musicals, science fiction, AIP/Poe horrors), guest stars ( Victor Mature , Annette Funicello , Sonny Liston, Frank Zappa, Tor Johnson , and a totally insane Timothy Carey !), and songs. Yet somehow, it all works as an entertaining piece of LSD-inspired lunacy that may be jarring to some but is never boring!

Despite this stab at something different, HEAD totally tanked at the box office. The Monkees’ teenybopper fan base didn’t know what to make of it, and the older hippies wouldn’t give them the time of day. As for the adults… fuggetaboutit!! The Monkees gradually disbanded, only to reunite decades later after the ironic crowd rediscovered them via reruns on Nickelodeon and MTV (which Nesmith had a hand in creating). Davy Jones died in 2012 and Nesmith’s now too rich to care, but Dolenz and Tork still carry the Monkee torch, touring as recently as 2016 for the group’s 50th anniversary.

As for the producers, each went on to success. Schneider won an Oscar for the 1974 documentary HEARTS AND MINDS, while Rafelson directed films like FIVE EASY PIECES (1970), STAY HUNGRY (1976), THE POSTMAN ALWAYS RINGS TWICE (1981), BLACK WIDOW (1987), and BLOOD AND WINE (1996). That guy Nicholson did okay for himself, too! HEAD is truly too unconventional for words, but I don’t think you’ll be disappointed by it, especially if you’re a classic film fan. Just turn off your mind, relax, and float downstream… oops, sorry, wrong band!

More “Rockin’ in the Film World”:

Roomful of Mirrors: Orson Welles’ THE LADY FROM SHANGHAI (Columbia 1947)

For my money, THE LADY FROM SHANGHAI is the perfect film noir, a tour de force by producer/writer/director/star Orson Welles that assaults the senses and keeps the viewer enthralled at all times. All this despite the meddling of Columbia Pictures czar Harry Cohn, who demanded Welles reshoot scenes and ordering its 155 minute running time cut down to 87. The version we see today, released in the states in 1948 (it was first run in France six months earlier), is still a brilliant piece of filmmaking thanks to the immense talents of Welles and his cast and crew.

Orson Welles scared the pants off American radio listeners with his Oct. 30, 1938 “Mercury Theatre on the Air” broadcast of H.G. Wells’ WAR OF THE WORLDS. Signed to an unprecedented contract by RKO, Welles’ first feature was of course CITIZEN KANE (1941), now considered by many the greatest film ever made. The film didn’t light up the box office at the time though, and ruffled the feathers of William Randolph Hearst, the newspaper tycoon on whose life KANE is based. It lost the Oscar to John Ford’s sentimental HOW GREEN WAS MY VALLEY, then Welles’ second production, 1942’s THE MAGNIFICENT AMBERSONS, was butchered by RKO. No longer the boy wonder of motion pictures, Welles made JOURNEY INTO FEAR (1943) and THE STRANGER (1946) before taking on a stage project, a musical adaptation of AROUND THE WORLD IN 80 DAYS.

Strapped for cash, Welles offered his services to Cohn for the money he needed to launch his play. Legend has it he saw the cover of the book his theater cashier was reading and told the mogul he had it in mind for his film. The truth is Columbia contractee William Castle  owned the rights to Sherwood King’s novel “If I Die Before I Wake”, and asked Welles to pitch it to Cohn, hoping to direct it himself. Welles decided to direct himself, leaving Castle with an Associate Producer credit, as well as having an (uncredited) hand in the screenplay and some 2nd Unit work.

Welles also narrates the tale (complete with Irish brogue!) as sailor Michael O’Hara, who spots beautiful blonde Elsa Bannister riding through Central Park in a coach. She’s played by Rita Hayworth , Welles’ estranged (at the time) wife, with a short ‘do and hair dyed blond, another detail that went up Cohn’s ass. The girl is abducted by some ruffians and Michael stops a rape attempt. In gratitude, she offers him a job… on her husband’s yacht. Disappointed, Michael rips up her card and walks away, as two as-yet unidentified men watch from afar.

Next day the woman’s husband, disabled lawyer Arthur Bannister, comes calling at the union hall. Bannister, “the world’s greatest criminal lawyer”, insists Michael take the job. Reluctant but still attracted to Elsa, Michael accepts, and the crew set sail on The Circe from New York to San Francisco. We now meet the two men, one of whom is Sidney Broome, a sleazy PI working for Bannister’s divorce cases. The other is Bannister’s partner George Grisby, who makes Michael an unusual offer… five thousand dollars to commit murder. The victim: Grisby himself!

Things spiral out of control quickly for Michael from here, as he’s caught in a web of lies, deceit, and an elaborate frame-up that finds him being defended by Bannister for Grisby’s murder. These people to Michael are sharks feeding on themselves, and he’s trapped in their cesspool of wickedness with seemingly no way out. Welles performs wonders with this film, using close-ups, odd camera angles, and deep shadows to create this unholy world of the rich and powerful. The overlapping dialog injects the film with a sense of realism, as does the location footage. The Aquarium scene, the circus-like courtroom atmosphere, the Chinese theater scene, all are breathtaking, but take a backseat to the finale set in a Twilight Zone-ish funhouse Hall of Mirrors, a dazzling cinematic piece de resistance that has been often imitated but never duplicated. It is a masterpiece in every way, and has been rightly hailed as true work of art.

The marvelous Everett Sloane almost steals the picture as Bannister, the egotistical, cruel attorney. His bit cross-examining himself in the courtroom is a work of acting art in itself. Broadway star Glenn Anders is strange indeed as Grisby, and this is his best known of the ten films he was in. Ted de Corsia, the brutish Willie Garzah of THE NAKED CITY , adds his brand of menace to the role of Broome. Other Familiar Faces include (besides Sloane) CITIZEN KANE alumni William Alland, Erskine Sanford, Gus Schilling, and Harry Shannon. Errol Flynn’s yacht The Zaca stood in for Bannister’s Circe, and the actor can be spotted in a scene hanging out in front of a Mexican cantina (which wasn’t much of a stretch for Flynn!).

THE LADY FROM SHANGHAI is perfect in every way, as film noir and as filmic art. Even with the cuts and extensive retakes, Welles’ talent shines through; in fact, they may have even helped the film. We’ll never know, as the trimmed footage is apparently lost, yet what remains is an electrifying piece of cinematic magic you don’t want to miss!

Dead Pigeons Make Easy Targets: THE CHEAP DETECTIVE (Columbia 1978)

THE CHEAP DETECTIVE could easily be subtitled “Neil Simon Meets MAD Magazine”. The playwright and director Robert Moore had scored a hit with 1976’s MURDER BY DEATH, spoofing screen PI’s Charlie Chan, Sam Spade, and Nick & Nora Charles, and now went full throttle in sending up Humphrey Bogart movies. Subtle it ain’t, but film buffs will get a kick out of the all-star cast parodying THE MALTESE FALCON, CASABLANCA , TO HAVE AND HAVE NOT, and THE BIG SLEEP .

Peter Falk  does his best Bogie imitation as Lou Peckinpaugh, as he did in the previous film. When Lou’s partner Floyd Merkle is killed, Lou finds himself in a FALCON-esque plot involving some rare Albanian Eggs worth a fortune. Madeline Kahn , John Houseman, Dom De Luise , and Paul Williams stand in for Mary Astor, Sydney Greenstreet, Peter Lorre, and Elisha Cook Jr, respectively, and they milk it for every laugh they can get, especially Kahn as the mystery woman who continuously changes her name and personality!

There’s a CASABLANCA subplot with Louise Fletcher as Lou’s former flame, now married to French resistance fighter Fernando Lamas, getting an opportunity to show off his comic skills. Nicol Williamson plays Colonel Schissel, leader of “the Cincinnati Gestapo”, with young James Cromwell as his aide Schnell. James Coco and David Ogden Stiers are café waiters, and since you can’t have CASABLANCA without Sam, we get Scatman Crothers as the piano player who’s told not to play that song again… “Jeepers Creepers”!

Eileen Brennen mimics Lauren Bacall as a sultry saloon singer who calls Lou “Fred” (he in turn dubs her “Slinky”). Ann-Margret channels THE BIG SLEEP’s Martha Vickers as the oversexed wife of ancient, decrepit Sid Caesar , Simon’s old YOUR SHOW OF SHOWS boss. Marsha Mason, Simon’s wife at the time, plays Merkle’s cheating widow Georgia, who accidentally flushes the dead dick’s ashes down the toilet! Stockard Channing’s on hand as Lou’s handy, virginal secretary Bess, and Vic Tayback, Abe Vigoda, and Carmine Caridi are the overbearing cops on Lou’s case ( at one point, Tayback tells Vigoda to “stop leaning” on Lou… literally!). Funnyman Phil Silvers , who Simon also worked with on the SGT. BILKO sitcom, has a cameo as a cab driver.

DP John Alonso, who shot the neo-noir CHINATOWN (and there’s a CHINATOWN gag in this, too), gives us a fog-shrouded, sepia-toned San Francisco setting. Simon goes back to his SHOW OF SHOWS roots with all the puns, word play (“Hello, Georgia. I just had you on my mind”), and wacky sight gags. It’s obvious Simon has an affection for these films as he lampoons all the Bogart movie tropes, and the cast seems to be having a ball. There are plenty of guffaws to be had viewing THE CHEAP DETECTIVE, a Bogie devotee’s delight, and fans of film parodies like AIRPLANE! and THE NAKED GUN are sure to get a kick out of this one.

 

Hot in Argentina: Rita Hayworth in GILDA (Columbia 1946)

If COVER GIRL made Rita Hayworth a star, then GILDA propelled her into the stratosphere. This 1946 film noir cast Rita at her smoking hot best as the femme fatale to end ’em all. Surrounded by a Grade A cast and sumptuous sets, GILDA gives us the dark side of CASABLANCA , moved to Buenos Aires and featuring star-crossed lovers who are at lot less noble than Rick and Ilsa ever were.

“Every man I knew went to bed with Gilda… and woke up with me”, Hayworth is famously quoted as saying. Who could blame them, as Rita is absolutely stunning in this film. From our first glimpse of her, popping into view with that iconic hair flip…

…to her sultry faux striptease singing “Put the Blame on Mame”, Rita burns up the screen with her smoldering sexuality. Lines like “If I’d been a ranch,  they’d’ve named me the Bar Nothing” leave no doubt as to Gilda’s character, a woman unafraid using her feminine wiles to get her way. It’s an electrifying performance, and Hayworth plays up her erotic charms to the nth degree.

Glenn Ford  returned to the screen after his WWII stint in the Naval Reserve to play Johnny Farrell, Gilda’s ex-lover and narrator of the tale. He’s an American gambler down on his luck in Argentina who’s befriended by casino owner Ballin Mundson, becoming the latter’s right hand man. When Ballin returns from a trip with a new bride, Gilda, we know right off the bat there’s a history between the two. The sexual tension between Johnny and Gilda is so thick you could slice it with Ballin’s unique sword-cane, a weapon that becomes important to the denoument of the story.

Johnny’s job description now includes keeping close watch on Gilda, not an easy task as she flirts and frolics with every man she sets her sights on. Johnny and Gilda have an unhealthy love/hate relationship, spitting lines at each other with unbridled vitriol (Gilda to Johnny: “I hate you so much I would destroy myself to take you down with me”). Ballin’s involvement in a shady tungsten cartel results in murder, and he fakes his own death in a plane crash, but not before catching the locked in an embrace in his own bedroom.

After he’s declared dead, Ballin’s estate leaves everything to Gilda, with Johnny as the executor. Johnny takes over the cartel and marries Gilda, making her a canary in a cage out of spite. She runs away to Montevideo, but Johnny cleaverly retrieves her before she can file for divorce. The cartel is dismantled by the police, and Gilda and Johnny meet in an empty casino. She’s about to leave for America, and Johnny pleads to go with her, his defenses finally broken. Then Mundson returns from his watery grave, brandishing his sword-cane and demanding, “I want my wife back”…

Hayworth and Ford made five films together, beginning early in their careers with 1940’s THE LADY IN QUESTION, and continuing with THE LOVES OF CARMEN (’48), AFFAIR IN TRINIDAD (’52), and THE MONEY TRAP (’65), but GILDA outshines them all. Their onscreen chemistry probably had something to do with their decades-long on-and-off love affair, and it shows in the eyes of both stars. Standing out in support is suave George Macready as Ballin, one of the most elegant villains this side of George Sanders. Joseph Calleia has a pivotal part as Detective Obergon, always standing on the movie’s fringes until the ending. Also worth noting is Steven Geray as Uncle Pio, the washroom attendant loyal to Gilda and contemptuous of Johnny, calling him a “peasant”. Familiar Faces standing in the shadows are Joe Sawyer , Gerald Mohr, Symona Boniface, Eduardo Cianelli , Ludwig Donath, Bess Flowers (naturally!), John Tyrell , and Phillip Van Zandt.

Marion Parsonnett‘s biting, sophisticated script (with an uncredited assist from Ben Hecht) surprisingly made it through the censors, given the era. Vidor’s direction is enhanced by Rudolph Mate’s brooding chiaroscuro photography. The costumes for Rita designed by Jean Louis make Rita luscious even in black and white, especially in the musical numbers “Put the Blame on Mame” and “Amore Mio”, a two-piece outfit showing off her slinky hip-wiggle. GILDA is an indisputable classic of film noir and highlights Rita Hayworth at the peak of her movie-star power. What more could you ask for… go watch it!