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Ángeles Vidal (Las Chicas Del Cable) Icons

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The Oscar Effect on Careers By Susan King

Does winning an acting Oscar change the career of the recipient? The answer is yes and also no. Take Brad Pitt, who won Best Supporting Actor last year for ONCE UPON A TIME IN HOLLYWOOD (2019). He’s a veteran superstar with over three decades in Hollywood. So, the award is more icing on the cake for his career. But that wasn’t the case when he earned his first nomination for Terry Gilliam’s 12 MONKEYS (‘95). Pitt was on a hot streak since gaining attention for his roles in THELMA & LOUISE (‘91), A RIVER RUNS THROUGH IT (‘92), INTERVIEW WITH THE VAMPIRE (‘94) and LEGENDS OF THE FALL (‘94), and his first Oscar nominations gave his career an even bigger boost.

Similar to Pitt, many young actors discovered their stock in Hollywood with Oscar gold, but nominations and wins have effected various stars’ careers in different ways. Here’s a look at various Oscar winners and how the award affected their careers.

Martin Landau

The Oscar has changed the career trajectory of many veteran actors. Martin Landau was making such TV movies The Harlem Globetrotters on Gilligan’s Island (’81) that just squandered his talents. But that all changed when he earned his first Oscar nomination for Francis Ford Coppola’s TUCKER: THE MAN AND HIS DREAM (’88), followed by a second for Woody Allen’s CRIMES & MISDEMEANORS (’89), eventually winning for his poignant performance as Bela Lugosi in Tim Burton’s ED WOOD (’94).

Ironically, Landau told me in a 2010 L.A. Times interview he didn’t think he could play the Dracula star. “It’s a Hungarian morphine addict, alcoholic who has mood swings,” he remembered telling Burton. “That would be hard enough, but it has to be Bela Lugosi! I said I don’t know if I can do this, but let’s do some tests.”

Makeup artist Rick Baker transformed Landau into the elderly frail actor. Burton, he recalled, looked at the tests and thought he was 50% Lugosi. Landau believed he captured the icon in fleeting moments. “I said if I can do it 10% of the time, I can do it 100% of the time. They have to accept me as Lugosi in the first five minutes or we don’t have a film. It was not an impersonation for me. He had to be a human being.”

Melvyn Douglas

Similarly, Melvyn Douglas, who was best known for his comedic roles in the 1930s and ‘40s in such films as NINOTCHKA (’39), had seen his career slow in the 1950s because of his liberal political leanings. But he came back to the forefront in 1960 after winning a Tony Award for Gore Vidal’s THE BEST MAN, and then receiving his first of two supporting actor Oscars for his turn as Paul Newman’s hard-working Texas rancher father in Martin Ritt’s HUD (’63). Seven years later, he received a Best Actor nomination as Gene Hackman’s father in I NEVER SANG FOR MY FATHER (’70), ultimately winning his second Oscar as the president of the United States in Hal Ashby’s BEING THERE (’79).

Luise Rainer

The German stage actress was signed to an MGM contract in the mid-30s. But the free-spirited Rainer, who considered herself an actress and not a movie star, was always at logger heads with studio head Louis B. Mayer. She told me in a 2011 L.A. Times interview, Mayer “couldn’t make me out. You know it was a little bit difficult for him. I wasn’t the type that he was used to. So, the poor man didn’t know what to do with me. For my first film, ESCAPADE [‘35], William Powell said [to him] you got to star that girl…My first film made me a star.”

Rainer won Best Actress as famed performer Anna Held in THE GREAT ZIEGFELD (’36) and as a Chinese peasant in THE GOOD EARTH (’37). All but one of her subsequent films didn’t do well at the box office and she left Hollywood. She made one film, HOSTAGES (’43), guest starred on some TV series including a voyage on The Love Boat and had a small part in indie film THE GAMBLER (’97).

Art Carney  

One of the greatest comedic actors, Carney came to fame in the Honeymooners sketches on The Jackie Gleason Show and The Honeymooners series as Ralph Kramden’s (Gleason) best pal, the clueless sewer worker Ed Norton. He won five Emmys for his work with Gleason. Carney also originated the role of neatnik Felix Ungar opposite Walter Matthau’s Oscar Madison in the 1965 Broadway production of Neil Simon’s The Odd Couple.

Well-known that he had a drinking problem, Carney wasn’t working that much in film or TV in the late 1960s and early 1970s. In fact, he tried to convince Paul Mazursky he wasn’t right for the filmmaker’s heartfelt dramedy HARRY & TONTO (’74) about a curmudgeonly old New Yorker who travels with his cat across country after he loses his apartment. Mazursky told me in a 2011 L.A. Times interview that no one wanted the part. James Cagney, Laurence Olivier, Cary Grant and even Danny Kaye were among those who turned him down. 

He had seen Carney on Broadway in 1957 in a dramatic role in The Rope Dancers.  “Of course, I had seen him in The Honeymooners. He didn’t want to do it,” noted Mazursky. “He said ‘I’m 59 years old and you want this guy to be in his 70s.’ I said, ‘Art, this is the first time I met you and you look like you are in your 70s – you’re balding, you wear a hearing aid and you have a bum leg.’ He told me, ‘You don’t want me, I’m an alcoholic.’ He had one bad night then nothing else. He had been out on a binge and he showed up on location in Chicago in a taxi in the morning loaded. I took him up to his room, put him in the shower and made him a pot of coffee. He was easy to direct.”

Carney won both the Golden Globe and the Academy Award for his turn, beating out the likes of Jack Nicholson for CHINATOWN and Al Pacino for THE GODFATHER PART II. And he did some of his best work post-Harry including as an aging Los Angeles private detective in the charming THE LATE SHOW (’77) and as a senior who teams up with his buddies (George Burns and Lee Strasberg) to rob a bank in GOING IN STYLE (’79). He earned his sixth Emmy for the TV movie Terrible Joe Moran (’84), which was James Cagney’s last film.  Carney’s final film was the 1993 Arnold Schwarzenegger disaster LAST ACTION HERO. “I’m outta here” was the last line Carney ever uttered on film.

[girls-words]

#icons #las chicas del cable #lidia aguilar #francisco #carlos cifuentes #carlota rodriguez #marga suarez #angeles vidal

[lameekly]

“Greetings From East Angeles” by Vidal Herrera hangs in the old Sears building in Boyle Heights. A truly iconic piece, the only downside is having to be in a Sears (at Sears, Roebuck & Company Mail Order Building) https://www.instagram.com/p/B7MJgnKBHr2/?igshid=1vyf3p7n14hln

[d0ntw0rrybehappy]

Greetings from East Los Angeles

This illustration/poster was conceived on August 29th, 2010 after I attended the 40th anniversary of the East Los Angeles Moratorium at Ruben F. Salazar Memorial County Park, formally known as Laguna Park. I wanted to honor the memory of Ruben Salazar along with Celestino ‘Sal’ Moncayo, mi “Carnal” and what Mr. Salazar meant to me, but more importantly, a defining moment and what he meant to all Chicano’s and our coming of age.

My intent was to highlight some of the icons we Chicano’s hold dear to our hearts. I wanted to exemplify our “cultura,” or popular culture, the flavor and colorfulness of our everyday lives, and what makes us distinctly Chicano’s. Set in backgrounds are vestiges of our daily lives, for example where we shopped, where we worked, where we ate, where many of us were born. The radio stations we listened to, and the ever-present ‘from above’ our beloved Los Angeles County Sheriff’s Department. I wanted to include images of the high schools we went to and the colleges we aspired to attend, as well as figures close to our hearts and at the center of our folklore, such as our Virgin de Guadalupe and her foil, the omnipresent weeping mother, ‘La Llorona.’

Finally, like the blood that runs through a Chicano’s veins, nothing’s more important than our streets and byways. Like the fourth street bridge which traverses the Los Angeles River that separated us, and continues to separate us to this day, from the westside, and our very own style of cars, our “Low Riders,” which we dreamed of one day driving. An important part of our lives, this was where all Chicanos came together for “Peace and Love” on Whittier Boulevard. “Esos Eran Nuestros Tiempos”, those were our times.

Al rato, Vidal Herrera

[tabloidtoc]

Closer, August 10

You can buy a copy of this issue for your very own at my eBay store: https://www.ebay.com/str/bradentonbooks

Cover: Dick Van Dyke at 94 -- I’ve Still Got a Story to Tell 

Page 1: Contents 

Page 2: The Big Picture -- Donny Osmond and Marie Osmond were guests on The Sonny & Cher Comedy Hour in 1976 

Page 4: Items from Marilyn Monroe’s last photo shoot are up for sale 

Page 5: Tom Bergeron looks forward to life after Dancing With the Stars, The Golden Girls’ house can be yours 

Page 6: Hellos & Goodbyes, Emmylou Harris singing some praises 

Page 8: Picture Perfect -- Mike Tyson for Shark Week, Christie Brinkley and Sailor Brinkley-Cook out on the bay, Jane Seymour strikes a pose in a red bathing suit 

Page 10: Princess Beatrice married Edoardo Mapelli Mozzi 

Page 12: Gilles Marini with his parrot Anya 

Page 13: Christopher Meloni and Mariska Hargitay, Reese Witherspoon with a plate of fruit, Martha Stewart on her new bike 

Page 22: Cover Story -- Dick Van Dyke -- love and loss and regret -- at 94 the beloved performer has made peace with the mistakes of his past 

Page 26: Elizabeth Taylor’s legacy of love -- she was a Hollywood icon but found true happiness just being with her family 

Page 31: Spot the Difference -- Christina Vidal on United We Fall 

Page 33: Horoscopes -- Leo Charlize Theron turned 45 on August 7 

Page 34: Entertainment -- In the Spotlight -- Kiefer Sutherland 

Page 36: Movies -- Liam Neeson on Made in Italy

Page 37: DVDs, Books, Music 

Page 38: Television 

Page 40: Great Escape -- Kevin O’Leary on Los Angeles 

Page 44: 5 ways to treat allergies, Zooey Deschanel became a vegan because she has multiple food allergies 

Page 46: Jim Gaffigan -- a seriously funny guy -- the popular comic talks about his dramatic side, family and great inspirations 

Page 50: Valerie Bertinelli misses her son -- she admits that distancing from her loved ones hasn’t been easy 

Page 52: Secrets of Airplane! Stars from the hit comedy reveal all the behind-the-scenes hilarity and more 

Page 54: Prince George turns 7 -- Duchess Kate Middleton and Prince William’s oldest son celebrated his big day with a nature-themed party 

Page 56: Style -- a summer to tie-dye for -- Gabrielle Union 

Page 58: My Life in 10 Pictures -- Martin Sheen 

Page 60: Flashback -- celebrity winemakers, The Most Dangerous Game

[wallpapernifty]

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[shorthaircutsmodels]

Short Haircuts for Women 2020 - 15+ - https://shorthaircutsmodels.com/short-haircuts-for-women-2020/ - Short Haircuts for Women 2020, Trying one of these styles allows you to spend more. Time in the morning because you won't have much hair to brush. This is the absolute best part of the ease of fashion styles. Low maintenance hair is the way to go if you want to make fashion look easy. Trendy very short haircuts for women will be on women's Hair Trends by 2020. In Hollywood Angelina Jolie and Christine Stewart had used this hairstyle in years past. That's why this hairstyle is now on the world trend. Millions of women all over this trend are using very short haircut models. Short Haircuts for Women 2020 Short Haircuts for Women 2020, Today we will share some great short hair pictures for women here. You want to know the details we'll start here. Super short cut women's hairstyles have long been on trend. Tired of playing safe with a haircut all the time? Let's not do it anymore. 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[rangercommand]

COMIC PREVIEW – First Look at Go Go Power Rangers Issue 26

Omega Rangers Assemble in SABAN’S GO GO POWER RANGERS #26

Secrets Unfold in the Next Chapter of the Epic “Necessary Evil” Event in December 2019.

LOS ANGELES, CA (November 25, 2019) – BOOM! Studios, under license by Hasbro, Inc. (NASDAQ: HAS), revealed today a first look at SABAN’S GO GO POWER RANGERS #26, by the acclaimed team of writers Ryan Parrott (Mighty Morphin Power Rangers) and Sina Grace (Ghosted in LA) and artist Francesco Mortarino (Mighty Morphin Power Rangers), revealing an exciting new chapter in the epic POWER RANGERS event, Necessary Evil, in December 2019.

As Jason begins to form his new team—the Omega Rangers—he struggles to keep the truth from his friends, Trini and Zack. Meanwhile, on another planet, Tommy has reached the Tower of Light but is he truly worthy of becoming the White Ranger?!

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SABAN’S GO GO POWER RANGERS #26 features main cover art by illustrator J. Lou, with variant cover art by Amelia Vidal (Buffy The Vampire Slayer), Miguel Mercado (Mighty Morphin Power Rangers), and more.

Currently, POWER RANGERS is celebrating 26 continuous years on the air, making it one of the longest running kids’ live-action series in television history with nearly 900 episodes aired to date. Created by Haim Saban and launched in 1993 with Mighty Morphin Power Rangers, the franchise celebrates its milestone anniversary year with the 26th season, “Power Rangers Beast Morphers” currently airing on Saturdays at 8 a.m. (ET/PT) on Nickelodeon in the U.S.

Print copies of SABAN’S GO GO POWER RANGERS #26 will be available on December 11, 2019 at local comic book shops (use comicshoplocator.com to find the one nearest you), or at the BOOM! Studios webstore. Digital copies can be purchased from content providers like comiXology, iBooks, Google Play, and Madefire.

Softcover collections of SABAN’S GO GO POWER RANGERS, Mighty Morphin Power Rangers and other Power Rangers releases from BOOM! Studios are available now, everywhere books are sold.

For continuing news on the MIGHTY MORPHIN POWER RANGERS series and more from BOOM! Studios, stay tuned to www.boom-studios.com and follow @boomstudios on Twitter.

For more on Saban’s Power Rangers, please visit www.powerrangers.com and follow Power Rangers on YouTube, Facebook, Twitter and Instagram.

TM & (c) 2019 SCG Power Rangers and Hasbro.

About Hasbro Hasbro (NASDAQ: HAS) is a global play and entertainment company committed to Creating the World’s Best Play Experiences. From toys and games to television, movies, digital gaming and consumer products, Hasbro offers a variety of ways for audiences to experience its iconic brands, including NERF, MY LITTLE PONY, TRANSFORMERS, PLAY-DOH, MONOPOLY, BABY ALIVE and MAGIC: THE GATHERING, as well as premier partner brands. Through its entertainment labels, Allspark Pictures and Allspark Animation, the Company is building its brands globally through great storytelling and content on all screens. Hasbro is committed to making the world a better place for children and their families through corporate social responsibility and philanthropy. Hasbro ranked No. 13 on the 2019 100 Best Corporate Citizens list by CR Magazine, and has been named one of the World’s Most Ethical Companies® by Ethisphere Institute for the past eight years. Learn more at www.hasbro.com, and follow us on Twitter (@Hasbro) and Instagram (@Hasbro).

About BOOM! Studios BOOM! Studios was founded by Ross Richie in 2005 with the singular focus of creating world-class comic book and graphic novel storytelling for all audiences. Through the development of four distinct imprints—BOOM! Studios, BOOM! Box, KaBOOM!, and Archaia—BOOM! has produced award-winning original work, including Lumberjanes, The Woods, Giant Days, Klaus, and Mouse Guard, while also breaking new ground with established licenses such as WWE, Mighty Morphin Power Rangers, Cartoon Network, and The Jim Henson Company properties. BOOM! will also bring their original series to life through unique first-look relationships with 20th Century Fox for film and with 20th Television for the small screen. Please visit www.boom-studios.com for more information.

Web: www.boom-studios.com Twitter: @boomstudios Facebook: @BOOMStudiosComics Instagram: @boom_studios Tumblr: boomstudios.tumblr.com

COMIC PREVIEW – First Look at Go Go Power Rangers Issue 26 was originally published on Ranger Command Power Hour

[twopointthreeninetoone]

Gilda (1946)

I watched Gilda for the second time ever last night, and boy, do I think I didn’t understand it the first time around.

I remember initially being relatively disappointed by Gilda, and I think the sources of my disappointment are still somewhat valid–the ending is rather rushed and is wrapped up in a too Hays-Code-ish, happily-ever-after way. It doesn’t fit the tone of the rest of the movie at all, and isn’t particularly satisfying. The bulk of the movie promises a catastrophic, doomed love affair that it just doesn’t deliver. It’s a shame, even though Gilda and Johnny are, in a weird way, endearing and attractive.

That’s the bad part. The part that I believe I missed before is just how interestingly sordid their relationship actually was, and just how deranged the movie’s take on Gilda/Rita Hayworth really was. Gilda is almost a sort of seamy, dark take on Casablanca, with an “exotic” locale and lovers who, having failed to run away from each other, spend a good amount of the film trying to get their own unique type of revenge on one another. Maybe Gilda was darker and acidic because the war was over and there were no ideals to fight for anymore. Maybe it’s just because Johnny and Gilda are more twisted than Rick and Ilsa ever were. As it is, this movie is comprised of that special brand of hatred ex-lovers feel toward one another. It reminds one of that August Strindberg quote–”I hated her now with a hatred more fatal than indifference because it was the other side of love.” It’s amazing how the mood of the movie just drips with that hatred, like some sort of rotten, poisonous fruit. The mood builds and builds and the dialogue and the acting crackle with it–and then, again, it’s sort of let-down when nothing really comes of it; not in the way that, say, Out of the Past handled that same dangerous electricity between its characters. 

But with that being said, Gilda most definitely deserves its spot in the upper echelons of Film Noir–the black-and-white cinematography is striking (thank god they didn’t shoot it in color, as they were initially planning to), the characters are deliciously bent and damaged, and the story is sharp and loaded with subtext. It’s not perfect, but no movie really is. 

What I find most interesting now, however, is the sadistic way Rita Hayworth and her character are treated throughout the movie; it’s indicative of the way most femme fatales were represented in those days. Director Charles Vidal’s camera is obsessed with her–it ogles her in a way that sort of reminds me of Hitchcock’s treatment of Ingrid Bergman in Notorious, but without the latter’s apparent sense of reverence. Rita Hayworth was without a doubt one of the most beautiful actresses in the history of film (although many forget of the price she paid for it–her natural beauty was manipulated and reconstructed by the studio system through painful cosmetic treatments to make her look more Caucasian and conventionally beautiful), and it’s easy to understand why men fall over themselves to get her in Gilda. But Gilda is also punished because of it–she’s treated sadistically by all of the men who love her, and she shows genuine fear as a result. Her iconic semi-strip tease to “Put the Blame on Mame” ends with a crowd of men fighting each other to unzip her dress. She doesn’t do it (or any of the other sordid interactions she has with men in the film) because she wants to–she does it to get back at Johnny, who in turn slaps her, cages her up in their apartment, and otherwise seethes silently in a way that the movie suggests is fair play because she loves him despite being married to another man. 

And again, this is a movie about individuals who have become twisted and destructive in their hatred, but it also exemplifies the general treatment of many female characters in film noir, whether Barbara Stanwyck in Double Indemnity or Mary Astor in The Maltese Falcon or Linda Darnell in Fallen Angel or Jane Greer in Out of the Past–she-devils who drive men to insanity and crime and ruin, often pulling them away from decency and the love of a good woman. They were dangerous women who used their sexuality as weapons and, as a result, must be dealt with severely, while still being adored by the camera and every man they came in contact with. It’s actually a wonder that Gilda doesn’t die in a hail of bullets at the end, such a danger to men is she. But Gilda seems to acknowledge the hypocrisy–even Gilda’s trademark song, “Put the Blame on Mame,” is about beguiling women who’ve been demonized by history. Maybe it’s Rita Hayworth’s acting or her natural charm, but you feel sorry for Gilda in a way that you don’t feel sorry for Glenn Ford’s Johnny. She ruins her husband (and perhaps a dozen other men) to get to Johnny, but her love for him, though twisted, is genuine and and the injustices she’s faced (whether by Johnny or her husband or a number of nameless men in her life) pierces through her devil-may-care, siren demeanor. It’s hard to not sympathize with her when she falls for another man who promises her some semblance of happiness and safety, only to find that he was an agent of Johnny’s used to get her back to Buenos Aires. I keep saying it, but Gilda is handled downright sadistically by the hero throughout the movie, much in the same way that Ingrid Bergman’s Alicia Huberman is betrayed, manipulated, and literally poisoned in Notorious, apparently for simply being “that kind of woman.” And again, this is film noir, no one is completely innocent–not the heroes, not the heroines, not the law or the state–but the psychosis is terribly interesting to me. 

I actually really liked this movie the second go-round. I’ll probably buy it (definitely on Blu-Ray, if it’s available, because the cinematography deserves it) and when I watch it again it’ll probably hang over my head for days afterward. Because it’s a tense, electric movie. There are murders and double-crosses and international intrigue but the most dangerous element is the love/hatred with which Johnny and Gilda have armed themselves against the other, and are ready to kill each other with. There’s a scene in which Gilda tells him, “I hate you too, Johnny. I hate you so much I think I’m going to die from it.” Substitute “hate” with “love” and it means the same thing. One of them could’ve killed the other in that exchange. Instead, they kiss.

[asthegirlturns]

February's Literary Los Angeles excursion was to the Beverly Hills Hotel, with dear friends and fellow writers Sharon Goldstein, Gail Upp, Matthew Shaffer, and Jeff Payton. The Beverly Hills Hotel oozes with urbane charm, glitz, and storied history. Along with the usual Hollywood celebrities, the iconic hotel often hosted writers such as Fran Leibowitz, Gore Vidal, Eve Babitz, and Brett Easton Ellis. The Polo Lounge used to be a classic bar, but it had recently been remodeled to a restaurant with a small bar. Our plan was to just hang out at the bar, since a sit-down brunch is $95.00 per person--ain't nobody got time for that. Who knew it would be a Sunday of torrential rain, combined with the fact that it was Grammy Sunday; so the place was packed to the rafters. Thankfully the hostess took pity on Sharon, who literally needed to eat for her health, and she got us seated at a cocktail table near the bar. While drinks and appetizers were by no means cheap, it didn't require the taking out of a small loan that brunch would have. I nibbled on some rare sliders which were quite good, Matthew and Jeff had Polo Garden Gimlets, Sharon had Chips, Salsa, and Guacamole, and Gail had Lox over Gluten free bread, with a spot of caviar. We had some great conversation about movies (we do live in L.A. after all), relationships and weddings, our writing ideas, church music and faith, while watching the well-heeled and the Hollywood elite wend in and out with their various comings and goings. It was such a hit that we decided we must do it again. Musso & Franks is on the Literary Los Angeles list, so we will all pinch our pennies for that. While not as pricey as the Beverly Hills Hotel, it does require some budgeting--either that, or some sweet advances from book deals--the latter would be nice.... #latergram #muchlatergram #writers #literarylosangeles #beverlyhillshotel #pololounge #lushlife #swipeleft (at Polo Lounge) https://www.instagram.com/p/BtuvkJtF3ND/?utm_source=ig_tumblr_share&igshid=197822xh8ul14

[darlingbandit]

I watched Gilda for the second time ever last night, and boy, do I think I didn’t understand it the first time around.

I remember initially being relatively disappointed by Gilda, and I think the sources of my disappointment are still somewhat valid–the ending is rather rushed and and is wrapped up in a too Hays-Code-ish, happily-ever-after way. It doesn’t fit the tone of the rest of the movie at all, and isn’t particularly satisfying. The bulk of the movie promises a catastrophic, doomed love affair that it just doesn’t deliver. It’s a shame, even though Gilda and Johnny are, in a weird way, endearing and attractive.

That’s the bad part. The part that I believe I missed before is just how interestingly sordid their relationship actually was, and just how deranged the movie’s take on Gilda/Rita Hayworth really was. Gilda is almost a sort of seamy, dark take on Casablanca, with an “exotic” locale and lovers who, having failed to run away from each other, spend a good amount of the film trying to get their own unique type of revenge on one another. Maybe Gilda was darker and acidic because the war was over and there were no ideals to fight for anymore. Maybe it’s just because Johnny and Gilda are more twisted than Rick and Ilsa ever were. As it is, this movie is comprised of that special brand of hatred ex-lovers feel toward one another. It reminds one of that August Strindberg quote–”I hated her now with a hatred more fatal than indifference because it was the other side of love.” It’s amazing how the mood of the movie just drips with that hatred, like some sort of rotten, poisonous fruit. The mood builds and builds and the dialogue and the acting crackle with it–and then, again, it’s sort of let-down when nothing really comes of it; not in the way that, say, Out of the Past handled that same dangerous electricity between its characters. 

But with that being said, Gilda most definitely deserves its spot in the upper echelons of Film Noir–the black-and-white cinematography is striking (thank god they didn’t shoot it in color, as they were initially planning to), the characters are deliciously bent and damaged, and the story is sharp and loaded with subtext. It’s not perfect, but no movie really is. 

What I find most interesting now, however, is the sadistic way Rita Hayworth and her character are treated throughout the movie; it’s indicative of the way most femme fatales were represented in those days. Director Charles Vidal’s camera is obsessed with her–it ogles her in a way that sort of reminds me of Hitchcock’s treatment of Ingrid Bergman in Notorious, but without the latter’s apparent sense of reverence. Rita Hayworth was without a doubt one of the most beautiful actresses in the history of film (although many forget of the price she paid for it–her natural beauty was manipulated and reconstructed by the studio system through painful cosmetic treatments to make her look more Caucasian and conventionally beautiful), and it’s easy to understand why men fall over themselves to get her in Gilda. But Gilda is also punished because of it–she’s treated sadistically by all of the men who love her, and she shows genuine fear as a result. Her iconic semi-strip tease to “Put the Blame on Mame” ends with a crowd of men fighting each other to unzip her dress. She doesn’t do it (or any of the other sordid interactions she has with men in the film) because she wants to–she does it to get back at Johnny, who in turn slaps her, cages her up in their apartment, and otherwise seethes silently in a way that the movie suggests is fair play because she loves him despite being married to another man. 

And again, this is a movie about individuals who have become twisted and destructive in their hatred, but it also exemplifies the general treatment of many female characters in film noir, whether Barbara Stanwyck in Double Indemnity or Mary Astor in The Maltese Falcon or Linda Darnell in Fallen Angel or Jane Greer in Out of the Past–she-devils who drive men to insanity and crime and ruin, often pulling them away from decency and the love of a good woman. They were dangerous women who used their sexuality as weapons and, as a result, must be dealt with severely, while still being adored by the camera and every man they came in contact with. It’s actually a wonder that Gilda doesn’t die in a hail of bullets at the end, such a danger to men is she. But Gilda seems to acknowledge the hypocrisy–even Gilda’s trademark song, “Put the Blame on Mame,” is about beguiling women who’ve been demonized by history. Maybe it’s Rita Hayworth’s acting or her natural charm, but you feel sorry for Gilda in a way that you don’t feel sorry for Glenn Ford’s Johnny. She ruins her husband (and perhaps a dozen other men) to get to Johnny, but her love for him, though twisted, is genuine and and the injustices she’s faced (whether by Johnny or her husband or a number of nameless men in her life) pierces through her devil-may-care, siren demeanor. It’s hard to not sympathize with her when she falls for another man who promises her some semblance of happiness and safety, only to find that he was an agent of Johnny’s used to get her back to Buenos Aires. I keep saying it, but Gilda is handled downright sadistically by the hero throughout the movie, much in the same way that Ingrid Bergman’s Alicia Huberman is betrayed, manipulated, and literally poisoned in Notorious, apparently for simply being “that kind of woman.” And again, this is film noir, no one is completely innocent–not the heroes, not the heroines, not the law or the state–but the psychosis is terribly interesting to me. 

I actually really liked this movie the second go-round. I’ll probably buy it (definitely on Blu-Ray, if it’s available, because the cinematography deserves it) and when I watch it again it’ll probably hang over my head for days afterward. Because it’s a tense, electric movie. There are murders and double-crosses and international intrigue but the most dangerous element is the love/hatred with which Johnny and Gilda have armed themselves against the other, and are ready to kill each other with. There’s a scene in which Gilda tells him, “I hate you too, Johnny. I hate you so much I think I’m going to die from it.” Substitute “hate” with “love” and it means the same thing. One of them could’ve killed the other in that exchange. Instead, they kiss.