Gilda (1946) met Rita Hayworth was vannacht op BBC 2
filmgodin Rita Hayworth als Gilda 1946
Gilda (1946) contains the most famous role and peak performance of WWII’s GI “love goddess,” the beautiful, alluring, and provocative, red-haired pin-up Rita Hayworth – with her sleek and sophisticated eroticism, lush hair and peaches and cream complexion. Director Charles Vidor lavished admiration on her in this film, helping her to reach her apotheosis as the reigning Hollywood 40s love goddess with this immortal role. Film posters cried: “There NEVER was a woman like Gilda!” Hayworth’s most famous scene is the seductive striptease (to the tune of Put the Blame on Mame) when she only removes long black satin gloves from her arms. Rita Hayworth’s life was forever affected by her role, as she once reportedly said: “Every man I knew had fallen in love with Gilda and wakened with me.”
de beroemde scene uit Gilda :
put the blame on mame
put the blame on mame
The film-noirish screenplay by Marion Parsonnet (and adapted by Jo Eisinger), was taken from an original story by E. A. Ellington. The complex, eccentric, cynical tale was in keeping with the prevailing attitudes of the American post-war era, playing upon US political paranoia of German-Nazi war criminals who escaped and assumed new identities in South America. [Another similar plotline is found in Hitchcock’s Notorious (1946)]. The film’s themes include implied impotence, misogyny and homosexuality, although only suggested with liberal euphemisms and innuendo to bypass the Production Code. The semi-trashy crime drama is also known for the erotic strains of the strange, tawdry, aberrant romantic triangle (menage a trois) between the three main characters.
Bron: .filmsite.org
Bron: .filmsite.org
Gilda filmposter 1946
Gilda [imdb.com] | bespreking van Gilda door Gerard de Bruijn [ movie2movie.nl ]
Van 11 oktober t/m 11 januari aanstaande zijn unieke miniatuurschilderingen uit de Rijmbijbel van Jacob van Maerlant van dichtbij te zien. Doordat de Rijmbijbel voor restauratie uit elkaar genomen is heeft de bezoeker voor het eerst de gelegenheid om twintig afzonderlijke pagina’s met evenzoveel miniaturen in detail te bekijken. Daarnaast zijn miniaturen uit andere prachtige Maerlant-handschriften te bewonderen die zeer zelden te zien zijn, en o.a. in Berlijn, Brussel en Brugge worden bewaard.
