Gilda (1946)

In postwar Argentina (where crypto-Nazis abound,) Johnny Farrell (Glenn Ford) an expatriated, broken hearted, down-on-his-luck, crooked American gambler gets discovered by Ballin Mundson (George Macready,) he is hired, and he is quickly promoted to right-hand man at a casino, (gambling is illegal, additionally it is later revealed to be a front for a tungsten monopoly, also illegal.)

Enter Gilda (Rita Hayworth,) torch singer, troublemaker, and all-around femme fatale, whom the boss married after barely knowing for a couple of days.

After sparks fly at the time of their introduction by Mundson it becomes obvious these two have shared a past.

It can only end in tragedy and tears, I tells ya.

But will it?

There is also some hidden plan which should be somewhat obvious when Mundson is shown to be much concerned about what is to happen to his monopoly were he to disappear, (why should he care about his enterprise after his death?)

But the details (and other fun) should be discovered by the viewer.

Despite the obvious Noir setup, the movie has some cards up its sleeve and it might surprise you that it doesn’t quite end as you might expect.

To say more would be to spoil the fun.

The movie is overlong, the plot gets a bit farfetched by one point; and the fact that the film doesn’t commit to its Noir premise turns it into a weird not fish, not fowl hybrid.

Glenn Ford and George Macready seemingly have something going one which might be more explicit (in the novel) than the movie dares explore; though some clues are planted here and there of what it could be, including a not very subtle, offhanded dropping of the term ‘gay.’

This is a four-sided triangle in probably more than one single way, and sooner or later there’ll be Hell to pay as Mundson keeps pushing Gilda onto Farrell.

Rita Hayworth is smoking hot and trouble with a capital T ('Ya got trouble, my friend, right here, I say, trouble right here in Buenos Aires'.)

How does that strapless dress stay on? Va va voom!