Almost There: Rita Hayworth in "Gilda"

by Cláudio Alves

Few movies define a star so completely as Gilda does Rita Hayworth. It's impossible to overstate the cultural impact that the 1946 noir had, how it made Hayworth an immortal screen legend and how controversial it was. Some countries even tried to block the release of the picture or censor it. Such feeble efforts only made Gilda more popular, its licentiousness transformed into a thing of myth. In America, audiences went wild, but the critics were more miserly in their praise. Overseas, however, among the European tastemakers and film scholars, Gilda was quickly viewed as an object of serious artistry and not merely a box office juggernaut. Beloved by the public, celebrated by the intellectuals, it's no wonder the flick became such a historical landmark. 

It's safe to assume it was also the closest the actress ever came to an Oscar nomination. It would have been a deserved nod, that's for sure. In Gilda, Rita Hayworth is movie magic made flesh…

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Mirror, mirror on the wall…

by Cláudio Alves

In a career full of little gimlets of cinematic madness, The Lady from Shanghai is Orson Welles' most demented work. With an incomprehensible plot and a cast willing to go to the extremes of grotesque, it's a waking nightmare on celluloid. Through surrealism, Hollywood's most famous enfant terrible untethered himself from the demands of audiences and studios alike, spitting on their face as he went about it. The result is a film noir in the process of imploding unto itself, unencumbered by reality it projects shrapnel of shock and provocation every which way.

Beautiful stars turn into fleshy gargoyles and the dialogue gets increasingly florid, like drunken poetry coming directly from the pits of hell. Appropriately enough, an atmosphere of apocalyptic nihilism infects the hearts of everyone involved, onscreen characters and offscreen audiences alike. And then, this melodrama for the end of the world explodes into an ecstasy of beauty. As the lunatic plots converge and the characters reach their nasty apotheosis, Welles' venomous flower of a film loses itself in a hall of mirrors…

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The bruised authenticity of "In a Lonely Place"

by Cláudio Alves

There's something deeply unsettling about finding yourself scared of someone you love. Part of it is the admittance of personal failure to oneself for the frightened person is the one that let themselves become vulnerable. To love is to let defenses fall and lay splayed at the mercy of another, believing our beloved will never abuse the gift of openness they have been given. We hope against hope that this trust is well-founded but sometimes it isn't. To realize you're scared may lead you to accept loneliness as a companion or else learn to live with fear. Like a toxic cocktail of arsenic and vinegar, that second option is a difficult thing to swallow and can be deadly. It often is. 

Such nightmares of heartbreak and panic have rarely been better captured in celluloid than in Nicholas Ray's In a Lonely Place…

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Toshiro Mifune @ 100: Stray Dog

Team Experience will be celebrating the Centennial of Japan's great movie star Toshiro Mifune for the next five nights. Here's Lynn Lee...

It’s impossible to think of Toshiro Mifune without thinking of Akira Kurosawa—and vice versa.  Their partnership was unparalleled in its cinematic impact, spanning 16 films between 1948 and 1965 that included stone-cold classics like Rashomon, Seven Samurai, Throne of Blood, The Hidden Fortress, and Yojimbo.  While Mifune and Kurosawa did significant work independent of each other, it’s not exaggerating to say they made each other; both men would acknowledge as much even after their falling out.  In Mifune, Kurosawa found the perfect player to convey the outsize emotions and imposing physical presence of his most memorable protagonists—typically men of strong passions and even stronger will, whether turned to honorable or horrible ends...

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The Whistlers: Film Noir Romanian-Style

by Cláudio Alves

As Noirvember comes to an end, it's interesting to peruse the current Awards hopefuls in search of some examples of film noir. Lynn Lee already defended the merits of Edward Norton's Motherless Brooklyn, but my attentions were drawn, as usual, to the Best International Feature category. Amid the record-breaking 91 submissions, we can find a peculiar experiment of deconstructed noir archetypes and mechanisms. It comes from one of those countries whose historical lack of a nomination is an absurdity and reflects poorly on the Academy.

I'm talking, of course, about Romania's The Whistlers…

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