When talking about the quintessential classic Hollywood femme fatale, I’d be remiss not to mention what is arguably the most recognizable character of the genre.
Released in 1946 and directed by Charles Vidor, Gildais with out a doubt, considered one of the best film noirs of all time.
With its shiny glamour shots and acting that would rival even the most dedicated method actors, Gilda will always have a place among the film noir greats. What makes this movie so memorable, is the dress wearing, hair flipping charm of Rita Hayworth‘s title character, Gilda.
Sultry, sexy, and dangerous are just a couple words to describe Rita in this role. A shy woman in real life, according to Rita herself, her performance as Gilda is one of the greatest of all time (don’t fight me on this, haha.)
In the film, Gilda is quite cunning, she has most men wrapped around her finger, there’s also a level of manipulation on her part as well. Her leading man in the film, played excellently by Glenn Ford, has this love hate relationship with her.
As the movie continues, we see that Johnny and Gilda had a history together and there are times where we see it get pretty volatile. Gilda openly flirts with men to get Johnny riled up, but on the inside she always loved him.
But, even at the end of the film, Johnny grows power hungry and uses his new found wealth and influence to hurt Gilda for everything she’s put him through.
Fortunately at the end, the pair reconcile, but Gilda essentially drives Johnny to go crazy – emotionally, physically and mentally. That’s the great thing about this movie. Not only does it look stunning, it also has some of the best acting of Hayworth’s career.
Gilda knew what she was doing, maybe to a fault, and perhaps that hurt her in the end.
If that isn’t a femme fatale, then I don’t know what is.
If you like to read more entries on this blogathon, click: here 🙂
You can’t discuss great classic Hollywood movies without talking about the actors that made them.
There have been plenty of leading pairs throughout the years that have been seared into the movie-going public’s mind; Day and Hudson, Bacall and Bogart, Rogers and Astaire – the list goes on. One couple that doesn’t nearly get enough attention is the superb twosome of Glenn Ford and Rita Hayworth.
Starring in 5 films together during the course of their careers, Hayworth and Ford, in the eyes of the average classic film fan, looked like they were great friends. They were, to a certain extent, but, there’s a reason why I chose them for this blogathon.
In 1946, Gildawas released to moviegoers around the globe to critical acclaim. The sleek production, the angsty storyline and the underlying hate/sexual tension between the two leads made for a thrilling film experience.
I suppose that’s what made Gilda so successful.
Not only is Gilda and Johnny’s relationship one of the main driving point of the picture, it also helps when Hayworth and Ford made the romance seem so unforced.
Scrolling around the internet for hidden classic Hollywood tidbits, I stumbled upon this interesting article about some letters of correspondence between Rita and Glenn.
According to ‘Stars and Letters‘, the pair kept in touch with each other for many years, even inviting one another to each other’s houses for drinks and general fraternizing.
What may look like an innocent conversation to you, may look awfully suspicious to folks with a more keen eye towards covert romance.
Here comes the fun part!
Glenn Ford‘s son, Peter Ford, recently (and by recently, I mean 7 years ago) released a biography that insinuated that his father and Rita had an affair that lasted years.
The funny thing about this is, Peter alleges that Rita even got knocked up with Glenn‘s love child and was more or less pressured to get it aborted for the sake of their careers.
Now, let’s put two and two together.
If the younger Ford alleges that his dad had an affair with Hayworth, then it’s pretty obvious during the production Gilda, clearly – something – was going on between the two.
That explains why their relationship in the movie worked so well. It was built on top of something that was already real and very passionate.
The looks they shared, the way they interacted with each other, and the tender emotional moments all give the movie an extra added layer of sensuality and lust that we see in modern movies like Unfaithfuland Mr. and Mrs. Smith.
Gilda will forever be one of the greatest movies of all time but discovering that the two leads were involved make the love scenes even more enthralling.
Seventeen years after its release, Columbia Picture’s cinematic ‘dictator’ Harry Cohn is dying to bring the romantic dramedy Pal Joey to the silver screen.
Filled to the brim with sexual explicit scenarios and slick dialogue, it took Cohn numerous re-writes and several years to finally have his pipe dream realized.
Cagney, Grant and even Gene Kelly (due to Louis B Mayer‘s greediness) all turned down the lead role before Cohn settled on ole’ blue eyes, himself.
By the time Sinatra came into the fold, the script had been through various iterations, eventually ending with the finished, cleaned up product that moviegoers know as 1957’s Pal Joey.
The film starts off in San Franciso with noted womanizer Joey Evans (played by Sinatra) stepping off the bus in search of new employment. He’s a drifter, a playboy, irresponsible, but that doesn’t stop women from falling for his ‘sweet nothings’.
While walking down the North Beach pier, Evans spots an advert featuring an old friend, bandleader Ned Gavin. He diligently writes down the address and quickly saunters over to the nightclub, hoping to run into Ned; what finds instead, is the club’s owner, Mike Miggins.
Knowing he needs work, Joey haggles Miggins into giving him a job as a singer – which Evans exceeds at. During one his many performances, his warbling catches the eye of a young, blonde chorus girl named Linda (played by Kim Novak.) They get along well, which leads Joey to harass her until she accepts his advances.
Later that night, during a charity auction, a wealthy, older woman shows up to the event, stealing the gaze of every onlooker. Vera Simpson, played by Rita Hayworth, a former stripper who Joey recognizes immediately, turns out to be the sponsor of the auction and the sole investor of the club.
Joey, rudely, suggests that she does another performance for “old time’s sake” which earns him a swift slap to the face.
After striking out with Vera, Evans offers to walk Linda home. She’s hesitant to succumb to his wanton ways but, tolerates him when she finds out that they’re sharing an apartment together.
This doesn’t stop Joey from chasing after the older woman, however. Despite using insults as a disguise for flirting, Vera welcomes him back with open arms.
She reciprocates his advances which gives Joey an ego boost. When Vera returns to the club one night to make amends, he gives her his unbridled attention. Vera toys with him, and at the end of his session, she leaves without paying her astronomically large bill.
Guess who gets fired because of his indiscretions?
Luckily, Joey gets to redeem himself if he’s able to get Vera to return her investment in the club.
At this point in the film, Linda’s cold shoulder begins to warm gradually, and the thought of dating Joey seems to appeal to her.
Oooh, but wait! Not so fast.
You can never teach an old dog new tricks.
Linda breaks things off with him after he misses a dinner date they planned the night before, presumably the night he was meeting with Vera.
Joey couldn’t care less.
A couple of lies and champagne bottles later, Joey succeeds in seducing Vera and they begin to ‘go steady.’ But, their relationship is based on mutual gain rather than one that’s based on love.
Joey uses Vera for cash, and she uses him for companionship. Joey reveals to Vera that he wishes to have his own club one day. That intrigues Vera and she slyly suggests that she could invest in this new “project.”
The new place, dubbed “Chez Joey” is already a step up from his old place of employment. Decked out in chiffon, lace, and a multilevel stage, Joey’s already large ego doubles in size, essentially biting the hand that fed him. Taking matters into his own hands, Joey shrugs off Vera and reconnects with Linda, promoting her as the featured act.
Vera, naturally, is upset at this display of dominance and orders Joey to fire Linda. Instead of doing the honest thing and letting her go, Joey demands her to turn her singing act into a stripping one, knowing that it would make her uncomfortable.
Linda catches on to Joey’s charade and deduces that Vera is forcing him to do this. She takes matters into her own hands when, later that night, she finds Joey waiting for Vera on a ‘houseboat’ of sorts.
Hell hath no fury like a woman scorned.
Linda gets revenge by sloppily attacking (or kissing, really) Joey until she passes out in a drunken stupor.
The next morning, Linda apologizes for her behavior and agrees to perform the ill-suggested strip tease for Joey. Later that night during Linda’s performance, the men in the crowd get a bit too rowdy for Joey’s liking.
Pangs of jealously ring through Joey’s chest.
He yanks Linda off the stage and tells her to perform a song instead, much to her delight.
Vera, however, can’t believe what she just witnessed. Angered at Joey’s disobedience Vera threatens to pull her funds from the club thus forcing its closure.
For the first time in his life, Joey keeps his integrity. He lets it close.
Linda has other ideas, though.
She reconvenes with Vera to discuss the situation. She suggests that if Linda were to leave town, she would reconsider. Obviously, that’s not feasible so, Linda gives up and goes to find Joey.
While driving around downtown San Franciso, Linda finds Joey walking out of ‘Chez Joey,’ bag in hand. After reflecting on his time spent drifting through the Golden State, Joey realizes that it may be time to settle down and live an honest life. And with that, he suggests that he and Linda continue their act as ‘Linda and Joey Evans’ leaving Vera alone, troubled and companionless.
Take an up and coming starlet whose studio is desperately trying to turn her into the next Marilyn Monroe despite her objections and pair her up with an ‘aging’ femme fetale who’s grasping on to the last vestiges of fame before the Hollywood machine™ puts her out for good and you get the musical comedy-drama Pal Joey.
Directed by George Sidney and spearheaded by Harry Cohn, this iteration of Pal Joey is the watered down version of the stage play of the same name.
In the stage play, Joey is a real piece of work.
He uses and abuses the two women, and in the finale that leaves with nothing but his suitcase and a bruised ego. In the classic ‘Hollywood-ified’ version, in the end, Joey and the much younger Linda run off together, leaving Vera and her millions in the dust.
This difference is the main reason why Harry Cohn had such a difficult time adapting this to the silver screen.
Fortunately for Columbia and Cohn, the film still managed to earn multiple Academy Award nominations, including ones for Best Sound, Best Editing, Best Art Direction and Best Costume Design.
Pal Joey is truly an underrated film. One of Novak‘s best, it’s a shame not many people know about it.