Charles Vidor / US, 1946 / 110 min.
The dangerous woman, the seductress with a secret – no film noir is complete without her. Rita Hayworth magnificently embodied the cliché of the femme fatale in Gilda, not in the least because of the famous scene in which she peels off her long satin gloves.
The regular ingredients of the film noir: rainy streets, spiralling cigarette smoke and men with a dark past. Also: storylines that almost casually head towards a fateful denouement plus, of course, the appearance of a femme fatale, intelligent and sexually independent.
The cinematography is by Rudolph Maté, who was also Carl Th. Dreyer’s cameraman for The Passion of Joan of Arc (1928). Maté was to make his own noir in 1949, D.O.A., about a man who has been fatally poisoned and tries to find out who wanted to kill him.
Rain-drenched streets, curls of cigarette smoke, and men with a dark past. An inescapable fate and a femme fatale, sly and sexually independent. This summer Eye is presenting an extended programme of classic film noir, featuring masterpieces such as The Third Man and In a Lonely Place starring Humphrey Bogart. With vintage 35mm prints and newly restored works.