Gilda, noir icon and style symbol in American cinema

On March 14, 1946, Gilda made its debut in New York, preceding its release in U.S. theaters scheduled for April 25 of the same year. Directed by Charles Vidor and produced by Columbia Pictures, the film did not receive significant awards but achieved a global box office of approximately six million dollars, a notable result for the period. It was presented at the first edition of the Cannes Film Festival in 1946, where it did not receive official recognition but nonetheless established itself in the collective imagination.

Contemporary critics expressed mixed opinions. Variety magazine highlighted the quality of the cinematography and the aesthetic value of the production, emphasizing Rita Hayworth’s sex appeal. Conversely, Bosley Crowther of the New York Times gave a negative review, praising only Glenn Ford’s performance. Despite this, the audience responded positively, attracted by the plot set in Buenos Aires, which combined noir elements, a love triangle, and palpable erotic tension.

Filming took place between September 4 and December 10, 1945. During this period, a relationship developed on set between Rita Hayworth and Glenn Ford, which lasted for decades. This personal connection was reflected in the dynamic between their characters, Gilda and Johnny Farrell, lending authenticity to their complex relationship.

Costume designer Jean Louis created outfits for Hayworth that became iconic, particularly the black satin dress with a side slit and bow on the hip, worn in the Put the Blame on Mame scene. This sequence, choreographed by Jack Cole, is famous for the symbolic act of removing the black glove. The singing parts were dubbed by Anita Ellis, not Hayworth herself. A two-piece costume used in the song Amado Mio was later auctioned, demonstrating the cultural value attributed to these costume pieces.

The project was conceived as a vehicle for Hayworth’s career, who until then was mainly known for musicals. Originally set in the United States as a gangster film, the story was moved to Argentina following objections from censor Joseph Breen. The initial director, Edmund Goulding, was replaced by Charles Vidor, who adopted a sober but functional directing style.

The cast included George Macready as Ballin Mundson, the casino owner and Gilda’s husband, and Joseph Calleia as Detective Maurice Obregon, alongside Hayworth and Ford. The black-and-white cinematography, by Rudolph Maté, contributed to defining the visual aesthetic of Hollywood noir.

A few months after its release, Gilda unexpectedly entered popular culture. On July 1, 1946, a 23-kiloton atomic bomb tested at Bikini Atoll was nicknamed “Gilda” and decorated with an image of Hayworth taken from Esquire. The actress, then married to Orson Welles, expressed her dissent, considering the choice a publicity stunt by producer Harry Cohn. Welles reported that Hayworth wanted to hold a press conference to protest, but Cohn prevented it to avoid political repercussions.

Over the years, Gilda has attained cult film status. In 2013, it was added to the Library of Congress’s National Film Registry for its cultural, historical, and aesthetic significance. Contemporary reviews show a much broader appreciation than the initial reception, with a rating exceeding 90%. The film has been analyzed for its genre blending and its approach to sexual themes with what would now be considered a modern perspective. Hayworth’s performance has been reassessed as a complex portrayal of the femme fatale, characterized by a mask of confidence concealing vulnerability.

Gilda has also maintained a presence in popular culture, notably through its mention in the film The Shawshank Redemption, where the protagonist watches it in prison, thus introducing the title to new generations and consolidating its reputation as a classic of noir cinema.