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I Hate You So Much, I Could Die From It: The Classic Noir Film, Gilda



The Big Combo ©

You probably recognize American Film Noir when you see it: shot in black-and-white with stark lighting and dramatic shadowing, Noir was most prevalent in the 1940s and 1950s, though films emulating that classic era are still being made (and these are sometimes called Neo-noir to differentiate them from the original classics). Many Film Noir of that early period were based on hardboiled detective or crime fiction, such as these:

Dashiell Hammett’s The Maltese Falcon
James M. Cain’s Double Indemnity, The Postman Always Rings Twice, and Mildred Pierce
Raymond Chandler’s The Big Sleep and Farewell, My Lovely
Cornell Woolrich’s “It Had to be Murder” (as Rear Window)
I Married a Dead Man (made into several film versions, all with titles different from the novel as well as from the previous films)
Patricia Highsmith’s Strangers on a Train.

Popular with audiences, many Noir films were made by renowned directors, including,

Orson Welles, Citizen Kane (a disputed title in the Film Noir canon)
Billy Wilder (Sunset Boulevard and The Lost Weekend)
Alfred Hitchcock (Strangers on a Train and Rear Window)
Otto Preminger (Laura and Angel Face).

Fred MacMurray and Barbara Stanwyck in Double Indemnity ©

Film Noir explores morality in storylines where no character is completely good or evil. Virtually every character is more bad than good, however, although they mostly justify their criminal or morally reprehensible behavior, or blame it on something (or someone) else. The story involves a Guy, who becomes entangled with a Dame, and the story is really theirs, though others, like the Good Girl or the Unsuspecting Husband, sometimes get crushed under the wheels of whatever is driving the Guy and the Dame to their own destruction.

Robert Mitchum and Jane Greer, Out of the Past ©

The Guy

Whether he’s a private investigator (The Maltese Falcon), a criminal (Little Caesar), a convict (The Postman Always Rings Twice), an unwary insurance salesman (Double Indemnity), a government investigator (The Stranger), or an unfortunate victim of circumstance (D.O.A.), the male protagonist of Film Noir is world-weary, gritty, and psychologically complex. The disillusioned and usually fatalistic male wears suits and is virtually always clean-shaven (day-old stubble, at most). He may be more experienced with this fists than with weapons, but he acquits himself admirably with a knife or a gun if the situation arises. The male protagonist has had some dubious dealings in the past that make him as morally ambiguous as the femme fatale, but the male is almost always portrayed as the victim of the femme. Since Film Noir features Voice-Over narration mostly from the male protagonist’s perspective, the viewers are kept clearly on the side of that character: their worldview is limited to that of the doomed male.

Rita Hayworth in Lady from Shanghai ©

The Dame

The Dame of Noir films is the femme fatale, a woman of questionable moral virtue. She’s often contrasted with the “good girl,” the “girl next door,” or “the marrying type,” who loses the Guy to the dangerous femme fatale,

a mysterious and seductive woman whose charms ensnare her lovers in bonds of irresistible desire, often leading them into compromising, dangerous, and deadly situations… A femme fatale tries to achieve her hidden purpose by using feminine wiles such as beauty, charm, and sexual allure… In social life, the femme fatale tortures her lover in an asymmetrical relationship, denying confirmation of her affection. She usually drives him to the point of obsession and exhaustion so that he is incapable of making rational decisions.

Beautiful and duplicitous, with Hollywood-worthy costumes, impeccable coiffures, and glamorous make-up, the femme fatale ensnares the male, who is so drawn to her that he will do anything — even commit murder — in order to possess her love. Sexual passion goes along with her love, of course, but the doomed male protagonist wants the femme’s love even more than he wants her sexual fidelity. While the male is as morally dubious as the female, the femme fatale can usually out-think and outmaneuver her male counterpart. The femme fatale refuses to play expected societal roles.

She refuses to play the role of devoted wife and loving mother that mainstream society prescribes for women. She finds marriage to be confining, loveless, sexless, and dull, and she uses all of her cunning and sexual attractiveness to gain her independence. She remains fiercely independent even when faced with her own destruction. And in spite of her inevitable death, she leaves behind the image of a strong, exciting, and unrepentant woman who defies the control of men and rejects the institution of the family.

One of the most striking Noir films of the 1940s is Gilda (1946), and “No film noir course would be complete without it, in part because it’s at once prototypical and highly unusual.” While gambling in back alleys in Buenos Aires, Johnny Farrell (Glenn Ford) unexpectedly meets a stranger, who rescues Farrell from robbers, then invites Farrell to visit a high-stakes, though also illegal, casino. When Farrell goes to the casino and tries his usual thuggish con, he is brought before the gangster-owner: Ballin Mundson (George Macready), the stranger who saved Farrell in the alley.

George Macready as Ballin Mundson, and Glenn Ford as Johnny Farrell, Gilda © Columbia Pictures

Mundson admires Johnny’s braggadocio and hires him as his right-hand man. Like any clever crook who wears formal clothes, Johnny quickly rises in the institution’s hierarchy and becomes close friends with the Boss. When Boss Mundson returns from a short trip, he announces that he has fallen in love and impetuously married a beautiful woman, Gilda (Rita Hayworth).

Rita Hayworth as Gilda in Gilda © Columbia Pictures

Gilda and Johnny seem to immediately dislike, even despise each other, though each denies any antipathy to Mundson. Gilda enjoys herself at her husband’s casino: gambling,

Rita Hayworth in Gilda © Columbia Pictures

drinking and dining,

Rita Hayworth as Gilda, and Glenn Ford as Johnny, Gilda © Columbia Pictures


Rita Hayworth as Gilda, and Stephen Geray as Uncle Pio, Gilda © Columbia Pictures

and dancing, once in a strapless black dress so iconic it has its own Wikipedia page.

Rita Hayworth as Gilda, in the iconic black dress, Gilda © Columbia Pictures

When she begins to enjoy herself a bit too much, dancing too closely to one of the attractive guests, Mundson orders Johnny to keep her in line. Johnny reluctantly becomes Gilda’s “keeper.”

George Macready (standing), Rita Hayworth, and Glenn Ford, Gilda © Columbia Pictures

That’s when it becomes clear that Gilda and Johnny have a previous relationship, and it obviously didn’t turn out well. Gilda is as angry at Johnny as he is at her: viewers don’t know exactly what happened between them, or who broke up with whom, but it’s clear that they really do hate each other.

Glenn Ford and Rita Hayworth, Gilda © Columbia Pictures

Unfortunately, that hate is exciting — more so to Gilda than to Johnny — and when she begins to have sexual relations with everyone but her husband, openly flaunting her infidelity, Johnny takes it upon himself to protect the Boss from the Dame by becoming her bodyguard, re-igniting “one of the most erotic and tortured relationships on film” [synopsis].

Glenn Ford and Rita Hayworth, Gilda © Columbia Pictures

Just when you think you know where the film’s story is going, it changes direction abruptly, which is no doubt one of the reasons it’s become a classic. Mundson disappears, and the relationship between Johnny and Gilda takes an unexpected turn. To this point, Gilda has been portrayed as a monster albeit a monster with really amazing hair, but we learn that her seemingly insatiable sexual appetite, is really a

layer of bravado that masks deep insecurity… [and] it’s strongly implied that Johnny’s behavior in their prior relationship is largely responsible for her twisted psyche.

After Mundson’s disappearance, Gilda’s vulnerability is revealed, as is Johnny’s innate ruthlessness and cruelty. In an unusual twist for Film Noir, Gilda, the femme fatale, becomes the sympathetic protagonist while Johnny, the supposedly doomed male, becomes the unrepentant and quite horrific villain. And then, when you think you know where this new storyline is heading, the story changes direction again, when an unexpected character arrives.

Noted for its frank portrayal of sexuality, complete with homoerotic hints from the Boss toward the Guy, Gilda is available for rent for $2.99-3.99 (SD/HD) from Amazon, YouTube, GooglePlay, iTunes, and Vudu. Available for purchase from these sites as well as from TCM, where Gilda is free for subscribers.

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Murder, Anyone?
In a Lonely Place, the Film

When Murder Smells Like Honeysuckle:
3 Noir Film Classics

A Comedy of Noir: 5 Must-See Films

Top Crime Films:
Told from the Criminals’ Perspective

Crime, Passion, Ambition, & Stupidity:
Darkly Twisted Comedies

Crime, Passion, & Absurdity:
More Darkly Twisted Comedies



Filed under #Noirvember, Actors, Classic Films, Crime Drama, Film Noir, Film Videos, Films, Films/Movies, Movies/Films, No Spoilers Review, Noir, Noir / Neo-Noir, Official Film Trailers, Official Movie Trailers, Official Trailers, Review/No Spoilers

It’s Not How You’re Buried That’s Important: 3 Western Coming-of-Age Films


No Spoilers

Cowboy ©

Coming-of-age stories have an important place in art, religion, and philosophy. In Judeo-Christian and other Abrahamic religions, the Bible contains one of the quintessential coming-of-age story: Adam and Eve, innocent and child-like, live in the Garden of Eden until they disobey God by listening to the Serpent, who represents their own temptation, and eat the fruit from the Tree of Knowledge. Of course, once this knowledge of good and evil is attained, it can never be forgotten, and those who have matured into from innocent childhood to adulthood are forever changed. Whether the protagonist mourns or welcomes this loss of innocence depends on each individual story, but no matter the tale, the passage from childhood to adulthood, from innocence to knowledge can never be undone.

Shane ©

Western films, usually set during the second half of the 19th century when encroaching civilization and expanding technology began to eliminate any previously idyllic vision of life in the American west, often feature the iconic loner cowboy or gunfighter as their protagonist. Since he himself represents the desolate environment and its harsh life, he has long since lost any innocence he might have had. Instead, it is the other characters who come into contact with the Loner who lose their innocence and “mature.” Sometimes the other characters suffer by loving the Loner since they are “abandoned” by him when he moves on (Will Penney). At other times, the Loner’s actions, violent or not, force other characters to face their own moral bankruptcy (High Plains Drifter) or compels them to abandon their idealized image of themselves (Unforgiven).

The Cowboys ©

In Coming-of-Age Westerns, where fistfights are as brutal as gunfights, violence is a primary antagonist, whether it appears in the form of the environment (deserts, mountains, drought, storms, fires), animals (unbroke broncs, stampeding cattle, rattlesnakes, bears), or fellow humans. The iconic Loner, whether cowboy or gunslinger, is never what he seems to be, though loyalty to him is expected if the character who loses his innocence is to retain his own honor. America’s violent past, whether dealing with environmental or human elements, forces the innocenti to evolve from childhood to adulthood.

Shane (1953), one of the classics of the Western film genre, portrays a woman and her son — concentrating mostly the young son — who mature suddenly and irrevocably because of the Loner-protagonist’s violence. Cowboy (1958) and The Cowboys (1972) both feature naïve protagonists who are themselves forced into a painful “adulthood” when confronted with the harshness of the American West. These three films are classic coming-of-age Westerns.


You’re a dreamy idiot,
and that’s the worst kind.

In one of his best roles, Jack Lemmon stars as hotel clerk Frank Harris, who desperately wants to impress Mexican cattle baron Vidal, father of Maria (Anna Kashfi), the woman Harris loves. After rough-and-tumble, opera-loving Trail Boss Reece (Glenn Ford) appears at the hotel, Harris desperately wants to join the next cattle drive to prove himself worth of respect and to attain Maria’s hand in marriage.

Glenn Ford, Cowboy ©

After a somewhat slow start detailing every aspect of Reece’s character — spoiled, selfish, demanding, gambling, womanizing, hard-drinking, proud — the film picks up after Reece leaves the swank hotel and returns to the trail. Accompanied by Harris, who has now become a partner by investing his savings to purchase a herd after Reece lost his funds gambling, the trail boss treats everyone harshly, but especially the greenhorn Harris.

Jack Lemmon (2nd from L) and Glenn Ford (2nd from R), Cowboy ©

As the cattle drive continues, the uneasy relationship between Reece and Harris — “master” and “pupil” — becomes increasingly contentious and volatile, leading their comrades to worry about which man will survive.

Part coming-of-age story, part homage to the American West’s iconic cowboy, and part ironic morality tale, Cowboy explores a young man’s spiritual and emotional growth along with examining a mentor’s responsibility for his charges.

Based on Frank Harris’ semi-autobiographical novel My Reminiscences as a Cowboy, with the screenplay written by uncredited and blacklisted Dalton Trumbo, the film Cowboy is available for rent from $2.99-3.99 from Amazon and YouTube.


Shane, come back.

Adapted from the novel of the same name by Jack Schaefer, which based its story on the 1892 Johnson County War between Wyoming ranchers and homesteaders, Shane analyzes that historic conflict by telling the story of one man, Joe Starrett (Van Helfin), his family, and his tiny group of neighbors.

Brandon de Wilde, Jean Arthur, Van Heflin, and Alan Ladd, Shane ©

Starrett works hard to support his wife Marion (Jean Arthur) and his young son Joey (Brandon de Wilde), but he’s in conflict with local cattlemen who want Starrett’s small homestead. When a mysterious stranger arrives and helps Starrett ward off violence, he and his family welcome the Loner, Shane (Alan Ladd). Little Joey, who’s entranced by all things related to guns and who’s desperate to learn to shoot, immediately falls in love with Shane, partly because of his gun and partly because of his gunslinger past, which Shane never openly discusses.

Jean Arthur & Alan Ladd, Shane ©

As Joe Starrett’s wife and Shane begin to fall in love, the conflict between the cattlemen and settlers increases, and the brutality escalates. After a hired gun (Jack Palance) arrives, Shane must make a difficult moral decision. In the final tumultuous confrontations, Joey reluctantly learns what violence really does to families, to love, and to boyhood heroes.

Jack Palance (credited as Walter Jack Palance), Shane ©

Ignore Ladd’s dorky fringed-deerskin “suit,” silver-conch holster, and ivory-handled pistols, along with the other anachronistic hairstyles and clothes: put them all down to Hollywood’s typical carelessness with historical fiction. What remains is a powerful story about a man’s inescapable past, and about the importance of love, honor, and loyalty. Shane is a moving tribute to America’s violent and frequently romanticized past.

Though playing a gunfighter, Ladd was uncomfortable with guns, while Palance, playing fellow gunslinger Wilson, was nervous around horses. Shane is available for rent from $2.99-3.99 from Amazon, iTunes, and YouTube.

The Cowboys

It’s not how you’re buried [that’s important]:
it’s how you’re remembered.
Wil Anderson

After gold rush fever causes his hired hands to desert en masse, rancher and cattleman Wil Anderson (John Wayne) is desperate for help. After searching everywhere — even in the local one-room schoolhouse — for cowboys to help him take his herd to market, he begins to despair. The next morning, a group of boys, including Robert Carradine in his film debut, awaits him outside. Though very young, the boys want to be hired on, and are determined to prove themselves.

The Cowboys ©

Desperate, Anderson trains and hires the boys, even turning down some experienced paroled prisoners who request work. Anderson doesn’t mind that they’ve been in prison, but he doesn’t like liars. When Anderson and his boys leave to take the cattle on the two-month trip to market, the only adults on the drive are Anderson and his cook Nightlinger (Roscoe Lee Brown), who “doesn’t trust boys.”

Roscoe Lee Brown, The Cowboys ©

As if the cattle, harsh landscape, and constant exhaustion weren’t challenging enough for everyone involved, a group of outlaws, led by the parolee Long Hair (Bruce Dern), is tracking the group in order to steal the herd and get rich.

Bruce Dern, The Cowboys ©

Some reviewers were critical of what they termed the film’s “implication that boys become men through acts of violence and vengeance,” but The Cowboys delivers a stronger message concerning the importance of loyalty, commitment, and remembrance as the very young boys mature into young men.

Dern had difficulty finding work after The Cowboys was released, due to the final conflict between Dern’s Long Hair and Wayne’s protagonist Wil. Available for rent from $2.99-3.99 from Amazon, iTunes, and YouTube.

My original Top 10 Westerns post 
If You’re Going to Shoot,
Shoot: Don’t Talk

is now divided into two posts,
updated with official trailers and film availability:

We All Have It Coming:
Top 5 Westerns


I’m Your Huckleberry:
5 More Top Westerns

(originally films #6-10)

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No One Gets Out Alive:
Why You Need to Watch HBO’s Deadwood

Deadwood Strikes Gold!
Again! Still!

The Sutherlands’ Forsaken Is No Unforgiven,
Though It Tries to Be

My Favorite Film & TV Villains



Filed under Actors, Classic Films, Classics, Films, Films/Movies, Movies/Films, No Spoilers Review, Official Film Trailers, Official Movie Trailers, Official Trailers, Review/No Spoilers, Westerns