吉尔达

老娘不care!

When they had the earthquake in San Francisco Back in nineteen-six They said that old Mother Nature Was up to her old tricks That's the story that went around But here's the real low-down Put the blame on Mame, boys Put the blame on Mame One night she started to shim and shake That brought on the Frisco quake So you can put the blame on Mame, boys Put the blame on Mame

They once had a shootin' up in the Klondike When they got Dan McGrew Folks were putting the blame on The lady known as Lou That's the story that went around But here's the real low-down Put the blame on Mame, boys Put the blame on Mame Mame did a dance called the hoochy-coo That's the thing that slew McGrew So you can put the blame on Mame, boys Put the blame on Mame When Mrs. O'Leary's cow

Kicked the lantern in Chicago town They say that started the fire That burned Chicago down That's the story that went around But here's the real low-down Put the blame on Mame, boys Put the blame on Mame Mame kissed a buyer from out of town That kiss burned Chicago down So you can put the blame on Mame, boys Put the blame on Mame

Remember the blizzard, back in Manhattan In eighteen-eighty-six They say that traffic was tied up And folks were in a fix That's the story that went around But here's the real low-down Put the blame on Mame, boys Put the blame on Mame Mame gave a chump such an ice-cold "No" For seven days they shovelled snow So you can put the blame on Mame, boys Put the blame on Mame

第19届法罗岛电影节第5个放映日为大家带来《吉尔达》，下面请看前线自带神秘气质的女子四处周旋的评价了！

果树：

堪称灾难。围绕明星来立项最后呈现的效果不但没有彼此加成，反而相互拖累。只有部分海华斯镜头值得一提，甚至不能算作电影。

Morning：

海华丝的角色作为灵魂主角，她的建立很有意思，先是做了一个场景的设计即赌场，在这个场景中又做了两个男人的关系，这一切很像许多武侠小说的做法，先做一个场景出来，将主角“请”进去，虽然这一切都不太经得起推敲，但确实进入了一个很稳定的叙事场合下，同样是三角关系的阴谋，这一组显然就比《邮差总按两次铃》的开端要好看。如同大多数同类型的电影里，女性主角尤其作为性符号作用下写不好，就会导致主线故事开始凌乱和质量下滑，情感是可以很震撼人的，同时也是会容易让人轻视的，这个电影胜在演员所展现出来的气质和情绪都大于了剧本，牢牢的守住了底盘。

Not Here：

前面看的云云，结尾处突起的歌唱惊得我仿佛进入了另一个世界。爱得奋不顾身极易伤到自己，所以只有遍体鳞伤的人才真正爱得不顾一切。

子夜无人：

在两男一女之间的危险关系层面做足了全部文章，因此在归类上它显然淡化了黑色电影色彩，而仍然只是一部爱情片，一部不怎么好看的爱情片。

SONGMJ23：

片子给人的最大感受，神秘、鬼魅、不安，也是相较于同时期其他好莱坞经典的另类之处。恨比爱更令人着迷。画外音并不像在一般的黑色电影中起到补充和解释的作用，而是增强影片的扑朔迷离。维多导演或许是一位被忽视的电影作者。

FranzCamus：

她感性，她脆弱，她天生尤物，她魅力无限，她是吉尔达。

给艾德林的诗：

名不虚传，丽塔·海华斯真是举手投足间都魅力斐然，就像曾经不为人知的玛格丽塔·卡门·坎西诺在苦大仇深的格伦·福特娓娓道来中变身为荡妇与女神，或许穆尔维老师照扒拉康的那套言之凿凿的理论，就是建立在这片的基础之上，各种超有戏的背向镜头与戏剧化打光简直就是在把探索往昔的优柔直接架到了现今的虐情的欲火上烤，好看极了。

#FIFF20#第5日场刊评分将于稍后释出，请大家拭目以待了。

A toxic love-hate imbroglio taking the center stage in Charles Vidor’s GILDA, the film that cements Rita Hayworth as the unrivaled pin-up goddess of Golden Age Hollywood, but also covertly circumvents the production code with its latent homosexual undertone.

A bare-bones love triangle actualizes itself in Buenos Aries, an American gambler Johnny Farrell (Ford) is saved at the pistol point by Ballin Mundson (Macready), the owner of a local casino who has other hidden agendas in his business sphere. Johnny is taken under the latter’s wings and soon becomes his right-hand man. Their immaculate bond starts to crack when Johnny finds out that Ballin has married his jilted lover Gilda (Hayworth) in the spur of the moment. Their trilateral mythos can be boiled down to this: unwitting of Johnny and Gilda’s history, Ballin falls for Gilda hard, but Gilda doesn’t love him back, still hankers for Johnny while holding a grudge against his desertion. But what about Johnny? For my money and according to how the story plays out (before its ill-devised, slipshod ending), his allegiance to Ballin is piquantly spiked with a dotage of affection which outstrips the usual male-bonding compartment and justifies his motives: after Ballin owning up to him that he truly loves Gilda, Johnny intends to contain the damage in the minimum level, andto countervail Gilda’s willful vengeance of playing a promiscuous siren to provoke and hurt Ballin, he minutely tries to keep Ballin out of harm’s way as a vigilant guardian and refers Gilda as a piece of laundry he routinely collects at the beck and call of Ballin.

What is more ambiguous is Johnny's feelings for Gilda, we cannot simply blame it all on the love-hatred dynamismfor his persistence of punishing, even gaslighting Gilda after Ballin is presumably dead in a later accident. There must also bethegreen-eyed monster in the works, but his jealousy is not stemmed from Ballin but Gilda, who takes possession of the man he loves and then cavalierly betrays him out of her whims, Johnny’s cruelty is misogynous on the surface, but subliminally it is Freudian all over the place. Regrettably, the mining of a psycho-sexual mother lode is hampered by its time and regulation, hence the cockamamie Hollywood ending ineluctablytakes a shine off the film’s Dionysian luster.

It goes without saying that Ms. Hayworth’s voluptuousness is at the acme through her two signature music numbers (PUT THE BLAME ON MAME - that famous glove-removing tantalization, and AMADO MIO, courtesy to Allan Roberts and Doris Fisher), but her acting chop is also a force to be reckoned with here, Gilda is a paradigm of femme fatale but without a single bone of spite, everything she does is out of that stupid thing we all adore - love, which makes her vulnerability such a lollapalooza to be exposed in the forefront. Her two male co-stars, Glenn Ford amalgamates his youthful dapperness with sizzling gimlet eyes to level out Johnny’s embattled conscience, but the unsung hero isGeorge Macready, a scar-faced villain issuing unexpected charisma in his deep-fried aplomb and tactful evasion, that is the raison d’être of why one can second that his mystique has the allure which is not merely restricted to the opposite sex.

referential points: Douglas Sirk’s WRITTEN IN THE WIND (1956, 8.0/10); Charles Vidor’s HANS CHRISTIAN ANDERSEN (1952, 6.8/10)