In the late 1930s, director Jean Renoir had reached an artistic peak he may not have predicted at the dawn of his career. Many early critics viewed the elaborate star vehicles he concocted for his first wife, Catherine Hessling, saw his famous surname, and wrote him off as a dilettante papa’s boy. Instead of retreating to the mediums he worked with before he picked up a film camera, however, Renoir persevered, and the public greeted his work with both acclaim and controversy.
Category: Main Slate Archive
by Jason Haas
Gilda is a strange movie, and an unlikely classic. Artistically, it is no failure, but it is also far from an unqualified success. It is often mentioned in the company of the most famous film noir pictures, but it manages only to borrow from the genre without having many of the classic elements of noir. Instead, the movie turns on the personality and star-power mega-wattage of Rita Hayworth. Columbia boss Harry Cohn developed the film as a vehicle for this starlet on the rise, and few if any of her other films contributed so notoriously to her fame. While some of the star-vehicle concessions should just have turned Gilda into a passably entertaining film that time forgot, Hayworth does something rare â€“ she earns the attention the camera gives her.