Gilda (1946) - Rotten Tomatoes

Gilda1946

Gilda (1946)

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AUDIENCE SCORE

Critic Consensus: Rita Hayworth carries Gilda on the sheer strength of her screen presence, rendering the film's somewhat middling story almost irrelevant.

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Movie Info

In this film noir, Rita Hayworth stars as the sexy wife of crippled casino owner George Macready. She is also the former love of gambler Glenn Ford, who takes a job in Macready's Buenos Aires casino. Macready goes out of his way to throw the two of them together.

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Cast

Rita Hayworth
as Gilda Mundson Farrell
Glenn Ford
as Johnny Farrell / Narrator
George Macready
as Ballin Mundson
Joseph Calleia
as Det. Maurice Obregon
Steven Geray
as Uncle Pio
Gerald Mohr
as Capt. Delgado
Robert E. Scott
as Gabe Evans
Don Douglas
as Thomas Langford
Lionel Royce
as 2nd German
S.Z. Martel
as Little Man
Saul Martell
as Little Man
Rosa Rey
as Maria
Robert Kellard
as Man at Masquerade
Fernanda Eliscu
as Bendolin's wife
Frank Leyva
as Argentine
Forbes Murray
as American
Sam Flint
as American
Bob Board
as American
Jean De Briac
as Frenchman
Oscar Loraine
as Frenchman
Herbert Evans
as Englishman
Rodolfo Hoyos Jr.
as Peasant Man
J.W. Noon
as Bunco Dealer
Nobel G. Evey
as Bunco Dealer
George Sorel
as Assistant croupier
Jack Chefe
as Assistant croupier
Albert Pollet
as Assistant croupier
Lou Palfy
as Assistant Croupier
Sam Appel
as Black Jack Dealer
Jack Del Rio
as Cashier
Julio Abadia
as Newsman/Waiter
Fred Godoy
as Bartender
Lew Harvey
as Policeman
John Merton
as Policeman
Joe Palma
as Waiter
Ted Hecht
as Social citizen
Sam Ash
as Gambler
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News & Interviews for Gilda

Critic Reviews for Gilda

All Critics (70) | Top Critics (21)

Heralded as a new team in motion pictures, Rita Hayworth and Glenn Ford are off to a flying start in Gilda.

November 19, 2020 | Full Review…

The captivating Miss Hayworth turns in what is perhaps her best performance as the reckless Gilda.

November 19, 2020 | Full Review…

Not since the archaic days of Theda Bara and her brazen ilk has sex appeal been set forth in so rampant a fashion on the screen.

November 19, 2020 | Full Review…

If it's escape you want in a movie, you will find surcease from the worry of today's scary headlines at the Music Hall, where Rita Hayworth and Glenn Ford are pitted against each other in a lusty battle of hate and love.

November 19, 2020 | Rating: 3.5/4 | Full Review…

Staggering around with this plot on their shoulders, the players, all of them competent, have a lot of trouble being convincing, particularly with the dialogue provided.

November 19, 2020 | Full Review…

It's really good pulse-tingling cinema presented in good adult taste but there are sequences from which adolescents might draw the conclusion that all that shimmers is not heavenly light.

November 19, 2020 | Full Review…

Audience Reviews for Gilda

½

It is easy to just enjoy the gorgeous sight of Rita Hayworth exhaling beauty and sensuality, but let's not overlook how stupid, implausible and misogynist this film really is, painting Gilda as a mischievous femme fatale when in fact she is a victim in the hands of two hideous men.

Carlos Magalhães
Carlos Magalhães

Super Reviewer

Post-war greed, tempting women, and dark souls collide in the seductive Gilda. In a world ablaze in celebration, director Charles Vidor suggests that even amid all of the gaiety, exists a group whose tortured existence is ruled by deceit. Men and women, looking to forget their past misfortunes, begin to amass new fortunes at the expense of others. Even strangers in the street allude to the fact that they are becoming immune to human compassion. The man in this particular tale is Johnny Farrell, played by the always excellent Glenn Ford. Farrell, a man who likes to think that he "makes his own luck", spends his days narrowly escaping one quagmire after another, only to find himself hastily picking up the scent of the next big score. During his ascendancy in a cartel under the partronage of Ballin Mundson, his world is turned upside down by the dazzling and vivacious Gilda, played by Rita Hayworth, who happens to be Mundson's newly betrothed. While both men previously acknowledge that women and gambling don't mix, they both cannot seem to ignore this high stakes game. As soon as Rita Hayworth flips her hair back, you know she is trouble. She just oozes sexuality and I even found myself lured in by all of her celebrated, albeit achromatic, features. Farrell's contempt for Gilda is twofold. First off, he doesn't like her because it is revealed that they have a torrid history together. Secondly, and of prime importance in my opinion, Farrell sees too much of himself in her. Jumping from opportunity to opportunity, looking for the next path to fortune, Gilda is a manifestation of Farrell's ethos. Which draws both Farrell's fascination and ire. In one of their more passionate exchanges, Farrell accuses of Gilda of using Mundson for personal gain, to which she responds "That wouldn't be the big pot calling the little kettle black, now would it?" They develop a deeply passionate love/hate relationship that brilliantly taps into the duality of a post-war mind. Vigor accents these themes with his use of shadows. Often Gilda and Jonny are cloaked in darkness. If they do happen to be seen in the light, their shadow is sure to be close by, prowling in the background. In one outstanding scene, when Jonny and Gilda appear to have been found out by Mundson, Vidor frames the shot so the cuckold is close to the camera, a large shadow looming in judgment over the accused. In the same shot, Gilda walks to the back of the frame before addressing her husband, drenching herself in darkness. Vidor's visual language gives a whole other meaning to the term "shady people." It is not a perfect story. In fact, I found the ending to be rather slapdash and saccharine. Yet, it is quite an entertaining sexually charged noir. If nothing else, it will help you better understand what had all of the men gawking in "The Shawshank Redemption. "

Reid Volk
Reid Volk

Super Reviewer

½

The camera was in love with Rita Hayworth and she made sure we noticed it. One of the best noirs out there with probably the most strange case of a mènage a trois ever seen in a Hollywood pic.

Matheus Carvalho
Matheus Carvalho

Super Reviewer

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