吉尔达

本片是分析黑色电影经典时一定会被拿来举例说明queerness的作品。各种台词都暗（明）示两位男主关系到这个份儿上，如果还只以为是单纯的“两男追一女”，好好想想自己是不是太直了点。这可不是单纯的直人传统三角恋。

摘了一些外网总结的暗示性台词和细节：

Gilda: bisexual love triangle

Gilda is a 1946 film ahead of it's time, about a bisexual love triangle set in the world of high class gambling starring Rita Hayworth, Glen Ford and George Macready. Since the Hollywood code was still firmly in place, everything had to be suggested rather than direct, but the bisexual overtones are unmistakable and this film goes farther than any other I've seen from that time period. In fact, I'm not sure how it slipped past the censors..

In scene two, Glen Ford (as Johnny Farrell) is held up at gunpoint after winning a craps game on the docks of Buenos Aires in Argentina. A man with a cane that has a retractable blade comes along and saves his neck.

The older man is impecably dressed with a cravat-like scarf and pocket square. His face appears smooth, white and hairless. He seems refined and sort of gay. The retractible blade-tipped cane is both menacing and a sort of phallic symbol. He presses it against a crate to re-sheath it.

Johnny: A cane like that can come in handy.

Balin: It is a most faithful, obediant friend. It is silent when I wish it to be silent, it talks when I wish it to talk.

Johnny: That's your idea of a friend?...You must lead a gay life.

Balin: I lead the life I like to lead.

Johnny: You're a lucky man...

As the conversation goes on, Balin Mundson pulls out out a fancy cigarette case, takes a cigarette and puts it in his mouth. Ford helps himself to a cigarette and puts it in his mouth. He lights a match and lights the other man's cigarette, then lights his own...which is movie symbolism for flirting.

Ford's character, Johnny, shows up at the casino the next night and convinces Balin to hire him as a dealer at the casino.

Johnny: This way you'll have two friends. You've no idea how faithful and obedient I can be... for a nice salary.

Balin: This I must be sure of: that there's no woman anywhere.

Johnny: There's no woman anywhere.

Balin: Gambling and women do not mix.

Johnny: Those are the very words I use myself. Now shall we quit talking about it?

Balin: There was one once.

Johnny: Get this, Mr. Mundson. I was born last night, when you met me in that alley. That way I'm no past and all future, see? And I like it that way.

In another scene, Johnny and Balin drink a toast "to the three of us," indicating the cane as the third.

Johnny's naration: "It makes me laugh now, me being so sure it was the three of us."

Balin returns from a trip where he left Johnny in charge of the casino and invites him over to his house. Johnny is very excited. When he arrives, Balin is wearing a robe and a cravat. He brings Johnny upstairs...and introduces him to his new wife, Gilda. They obviously recognize each other and are shaken up by it. The audience realizes they were lovers.

Johnny to Gilda: Congratulations.

Balin: Oh, You dont congratulate the bride, Johnny. You congratulate the husband.

Johnny: Really.What are you supposed to say to the bride?

Balin: You wish her good luck.

Johnny: Good luck

Gilda: Thank you Mr. Farrell. My husband tells me you're a great believer in luck.

Balin: We make our own luck, Johnny and I.

Gilda: I'll have to try that, sometime. I'll try it right now. Tell him to come to dinner tonight with us Balin.

Balin: It's an order.

Balin walks Johnny downstairs.

- When did you meet her?

- The day I left for the interior.

- When did you get married?

- The day after that.

- Quick.

- You should know Johnny that when I want something I-

- You buy it quick.

- Do you know anything about her at all?

- It's an odd coincidence, Johnny. Listen to this. She told me she was born the night she met me. All three of us with no pasts, just futures. Isn't that interesting?

- I think it's fascinating.

- What's the matter with you?

- I thought we agreed that women and gambling didn't mix.

- My wife doesnt come under the category of "women," Johnny.

- I could've made a mistake.

- You did. Don't make it again.

- It starts already.

- What's this?

- Tact.

- [Gilda calls Balin back upstairs]

Johnny naration: "It was all I could do to walk away. I wanted to go back up in that room and hit her. What scared me is, I wanted to hit him, too. I wanted to go back and see them together with me not watching. I wanted to know."

Upstairs, Balin helps Gilda with the zipper on her evening gown.

Balin: I want you to like him.

Gilda: Are you sure about that? He's an attractive man, if you like the type. [insinuating both that he does like that type and that he should watch out]

还有后面Gilda问第三者“he or she”，等等等等……不胜枚举。

这个片如果要译出这些意有所指的部分，需要非常厉害的翻译功力和眼力。如果有条件，一定看英字细品。

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。

四星完全是冲着美神Rita给的。

说实话这部片子看得我还是有些懵逼的。剧情不难，可以总结为简单的一个新欢旧爱的争夺战？吉尔达为了报复乔尼的抛弃，下嫁给巴乔。结果命运捉弄，巴乔机缘巧合的救了乔尼，并收为下属。这种前期铺展，他俩如果不复合都出鬼了哈哈哈。

让我不懂的是乔尼的人设。简直是wtf？这么美就是有一些小任性的吉尔达，乔尼舍得抛弃？所以他到底要求吉尔达怎样呢。必须小鸟依人唯命是从还是咋滴。那你到底爱吉尔达的那点？当然了，他俩的过往几乎没有被提及，我实在臆测不出来。不过大概不过是小矛盾小过节吧。谁让这俩人爱的那么深。。。。哪来的深仇大恨。

最不戏剧性的最唐突的。。我觉得啊，就算结局了。嗯。这样就死了？就完结了？啥阿！咋地了啊！算了。黑色电影要不然就是开放式结局，要不然就是悲剧。这都算好的了。

冲着吉尔达电影里那个经典的甩头“me？”还有她三段表演，尤其是最后的手套舞。我给四星。四星最多啦！

以上。

铁轨漫步归来，手脚生暖，再泡完脚已经热火烧身，我说要看电影。我说要一部性感的电影，插上移动硬盘，看到她的名字，然后敲定。 开局一直觉得不错，写姬黛不急写由别人写，到姬黛吉他民谣舞台全景镜头，我被震撼，以为黄金时代是这么黄金的。之后可以不用说了，糟糕的阴谋完全无法连续我的逻辑，也可能我的问题，毕竟龙纹身的女孩我也觉得扯淡。以后，情况变得简单了，我只看有她的地方，毕竟这也是最初的意义。 有些女人忧愁的样子性感得你想跳楼，丽达海华丝无疑让你跳楼的女人，不过在她放笑时。我以为忧愁不美非美女的看法也可以扔出楼了。面对这样的女人，你又怎敢奢求永远。由她奇怪吧，由她美，由她笑。 忘了说，美国片子却是法文配音版，不过姬黛的声音演出达到了诗歌翻译的再创造水准，我怀疑即使丽塔海华丝本人是否有如此感情表现力的声色

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)