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Criterion

Gilda (The Criterion Collection) [Blu-ray]

Based on 213 reviews
Condition: Used - Good
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At a glance

Condition
Used - Good
Format
Blu-ray January 19, 2016
Dimensions
0.7 x 7.5 x 5.4 in; 0.01 oz
Language
English
Runtime
1 hour and 50 minutes
Studio
The Criterion Collection
Director
Charles Vidor

Description

Gilda, are you decent? Rita Hayworth (The Lady from Shanghai) tosses her hair back and slyly responds, Me? in one of the great star entrances in movie history. Gilda, directed by Charles Vidor (Cover Girl), features a sultry Hayworth in her most iconic role, as the much-lusted-after wife of a criminal kingpin (Paths of Glory s George Macready), as well as the former flame of his bitter henchman (3:10 to Yuma s Glenn Ford), and she drives them both mad with desire and jealousy. An ever-shifting battle of the sexes set on a Buenos Aires casino s glittering floor and in its shadowy back rooms, Gilda is among the most sensual of all Hollywood noirs. BLU-RAY SPECIAL EDITION FEATURES - New 2K digital restoration, with uncompressed monaural soundtrack - Audio commentary from 2010 by film critic Richard Schickel - New interview with film noir historian Eddie Muller - Appreciation of Gilda from 2010 featuring filmmakers Martin Scorsese and Baz Luhrmann - Rita Hayworth: The Columbia Lady, a 2000 featurette on Hayworth s career as an actor and dancer - Trailer - PLUS: An essay by critic Sheila O Malley

Specs 14

Format Blu-ray
Contributor Charles Vidor, George Macready, Glenn Ford, Rita Hayworth
Language English
Runtime 1 hour and 50 minutes
Studio The Criterion Collection
Aspect Ratio 1.331
Product Dimensions 0.7 x 7.5 x 5.4 inches; 0.01 ounces
Item model number 35221471

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Top Amazon Reviews

Fascinating Gilda
“Gilda” is a fascinating, multi-faceted film that can be interpreted in multiple ways, all of which can be valid understandings of what’s going on with its complex characters. It’s considered one of the great noir classics by most, though some argue that it’s not a noir at all. I don’t get into debates like that because it basically comes down to people making their own rules then parsing a film to see if it follows them. Noir is a style, a view of life, an atmosphere and a mood and the concept wasn’t even known at the time of the film’s development. Noir is usually a tragedy and in that respect, “Gilda” is not but neither is “Laura”, a film with which it has some similarities. Its screenplay is taut, has a few genuinely surprising twists and turns and has one of the zingiest scripts in the genre. It was a nightmare for the Breen office, whose final solution was to insist that it all be set in a foreign country (it was originally set in America) as such goings on couldn’t possibly be happening here. Exactly who wrote what is a mystery in itself. It is credited as being based on a story by the very obscure E.A. Ellington and adapted by Jo Elsinger, who also adapted “Night and the City”, so I imagine he added much of the noir atmosphere. of the film. But the screenplay itself is attributed to Marion Parsonette, who was mostly a writer of B-movie comedies and mysteries. who had worked on “Cover Girl” with producer Virginia Van Upp, herself a talented writer. Van Upp had won the confidence of the studio and Rita Hayworth herself with “Cover Girl” and developed “Gilda” to move Hayworth into something besides musicals. Ben Hecht is added to the list as an uncredited writer and I would imagine that he was responsible for some of the really sharp dialog. In spite of the multiple inputs “Gilda” comes together like a work by a single writer and never gets muddled or confusing. Though it was conceived as a star vehicle for Hayworth, its three principals interact as equals. George Macready’s Ballin Mundson is one of the most memorable of noir villains, enhanced by his real facial scar, the result of an automobile accident. He’s an elegant villain, absolutely cold and calculating, intelligent, superior and a man who says he makes his own luck. He’s much like Waldo Lydecker in “Laura”, wealthy, important and quite possibly gay or bisexual - another of the complexities of “Gilda”. He is unlike Lydecker, who is hedonistically first viewed in his sumptuous overdecorated bath and who shows a soft and tender side toward Laura. Ballin seems more the ascetic type, unimpressed with his own palatial home which only exists to show his power, his real love. He also enjoys being cruel at times. He openly admits to Glenn Ford’s Johnny Farrell, “I bought Gilda like I bought you” and has an unusual “faithful and obedient” definition of friendship. He’s a man you don’t want to cross. His only redeeming quality is that he seems to really love Gilda. Ford was an up and coming actor who was made a star by this film, in a role that would be typical for him, a regular guy in unusual circumstances. He’s likeable but will cheat at gambling and has enough cunning to talk Ballin into taking him on. In fact, he’s even cheeky toward Ballin, a tough guy trait Ballin seems to like. Johnny shows talent for running the casino and can take charge when called upon to do so. He has his own cruel side which he shows in abundance toward Gilda, however deserved or undeserved - another of the film’s mysteries. Ballin declared that Johnny is like him, a man who makes his own luck, but is he really so lucky? After all, of all the women in New York, he brings back Gilda. Gilda’s entrance is one of Hollywood’s most surprising. She arises from below screen out of nowhere like Venus emerging from the sea, in a hair tossing closeup that was immediately and forever iconic. There are simply no words to describe the radiant beauty of Hayworth in this film. She was, of course, a studio creation in many ways from changing her name from Rita Cansino to her mother’s maiden name, Hayworth, thus freeing her from the B-movie hell of playing exotic vixens. Her hairline was slightly raised and her naturally brown hair, dyed black in the Cansino days, became red. But you could do this with many starlets and they would never be Rita Hayworth. Her magic was real and came from within and was able to be picked up by the camera. There’s a joy of life with her, especially when she’s dancing and of course, something intangible but real. Gilda and Johnny have a backstory but it’s never really revealed, which is a good thing, as every viewer can imagine their own. The story is better without the details. Her Gilda is a bit enigmatic. She is self-destructive at times, risking her reputation and Ballin’s wrath just to make Johnny jealous. This is established when she encourages the advances of Gabe Evans only after she notices Johnny is in the room. She’s aware of the power of her beauty over men, but it only leads from one prison to another. Throughout it she’s delightfully insouciant, as when she first re-meets Johnny, saying, “Johnny is such a hard name to remember. It’s so easy to forget”. Still, it’s all bravado, covering up her insecurity at having to depend entirely upon men.There’s no need to comment on her two famous songs, “Amado Mio” and “Put the Blame on Mame”, though they were dubbed, they come across as her. Her dresses for each are equally famous. There’s conflicting information about her singing with the acoustic guitar with some sources saying it is her voice and others saying not. The issue has been brought forth in recent years that there is a gay subtext to the film and I have to agree that it’s there if you want to see it. Why is the wealthy, impeccably dressed Mundson hanging around the docks? Even Johnny asks him this and he answers with a non answer. Is he looking for a tough young guy like Johnny? He gives Johnny the key to the club and makes him the manager, then a partner and heir. What should we make of Ballin’s statement, “This I must be sure of., that there’s no woman anywhere” or his toast, “To us, Johnny”.When Ballin returns from New York, Johnny runs over and shouts an almost too joyful “Hello Ballin” before being crushed by the fact that Ballin has a woman in his house, something about which Ballin himself comments.. But then, Ballin married Gilda, so the situation is full of dynamite for poor Johnny. When Johnny accuses Gilda of marrying Ballin for his money, saying, “That’s a great way to make a living”, making a moral judgment. She counters, “That wouldn’t be the big black pot calling the little kettle black, would it?” If she’s referring to his employment by Ballin, there’s no equivalent moral aspect to accepting employment. Does she suspect something else? In interviews later on, none of the cast said they saw it this way and certainly the audience didn’t. The relationship between the two men can be seen as quite normal. Balln sees in Johnny a man like himself, a younger version, and takes him on as a protege, a common thing for men in business and the arts to do. Then it’s the story of an older, childless man taking on a young apprentice as a kind of son. If Johnny was as taken aback by Ballin marrying an unknown woman that would add to a gay subtext, but the fact that it’s Gilda makes it perfectly normal that he’s so upset. Either way it’s a great film and the underlying story isn’t greatly affected by either interpretation. It’s the story of two flawed people who had once found love, falling out with each other. They somehow fall into the control of a cold, cruel man whose lust for power is so great that at one point he turns into a Bond-like villain, revealing a desire to “control the world”. At one point each of them has accepted Ballin’s bargain that whatever life they had before, it ended when they met him and from now on, say a new life had begun. Through this dark and treacherous journey they are almost destroyed, but when one character reveals a concealed truth to Johnny, they are set free to begin a new life together. ... show more
Reviewed in the United States on October 5, 2025 by johnf
Great film noir with Rita Hayworths iconic hair flip!
A great film noir with the iconic Rita Hayworth in her iconic hair flip! She was great in it, although Glenn Ford was excellent also. The film looks great in 4k. The disc does have HDR/Dolby Vision. The disc is a new 4k restoration. The only slight negative with this release is that the bluray included in this release is NOT the new 4k restoration....it is the 2k scan that was done back in 2016. It's still not a bad transfer, it just doesn't hold a candle to the 4k disc. At least it has special features. The booklet or pamphlet included is actually poster of Rita Hayworth with an essay on the back of the poster! Overall an excellent release! ... show more
Reviewed in the United States on July 12, 2026 by William Davis
The Film That Made Rita Hayworth a “Legend”
Above all, this film is defined by the sheer charm of Rita Hayworth. She masterfully portrays both her femme fatale side and her vulnerable, earnest side, etching every ounce of her allure onto the silver screen. It is a film that immortalized the sensual figure of the woman who rose to become America’s sex symbol at the time. Although her singing is apparently dubbed, the scene where she sings “Put the Blame on Mame” can only be described as magnificent. The picture quality improvements in the Gilda 4K UHD, Dolby Vision HDR release from Criterion are flawless. Thanks to the overall stability of the image, the gradation from shadows to highlights, and the realization of native 4K resolution, this masterpiece has been resurrected as a gem of a film. ... show more
Reviewed in the United States on May 12, 2026 by Still Egg
A classic on 4K
Fantastic film, and a great presentation from Criterion. The movie has been restored and it looks great.
Reviewed in the United States on May 14, 2026 by The WagnerOperas Amazon Megastore
Great film but the item’s factory packaging and seal were broken, item not gift quality
Review Image by Catherine
The film itself is fantastic. The new 4K restoration is great: the natural grain, which I like very much, feels softer and more organic on Blu-ray rather than on 4K UHD, I was curious to compare the two. The long-format commentary is not Criterion’s best. I much preferred two shorter extras of this special edition. The one by Scorsese and Buz Luhrmann is fantastic, quick-witted, authentic and inspiring. Buz was as splendid as Gilda. Eddie Muller also did a great job as a historian. His shorter commentary was way more insightful than the longer format by Schinkel. Having said all this about the movie, I do want to complaint about the awful delivery. I had to order a second copy because the first copy in my original order was delivered with the factory packaging completely open. This created a very unpleasant situation for return. The person in charge of packaging knew very well that the factory packaging was opened! It was impossible not to see. It was obviously someone else’s return recycled to me, which puts a customer in an extremely unpleasant situation of now having to explain why the factory packaging is opened, when I had nothing to do with it. Whoever held this box in their hands shipped it to me despite seeing it is broken. NOT cool! This has been happening more often lately. I had to place another order and return the first purchase. ... show more
Reviewed in the United States on August 2, 2026 by Catherine
Classic!
I have been wanting to see this movie when I saw this scene in shawshank redemption film
Reviewed in the United States on March 25, 2026 by Rocio M
World War 2 ends…sexual battles begin….
Fantastic film. Great 40's snappy/sarcastic banter, Rita and the washroom attendant having the best lines. The B&W cinematography is some of Hollywood's best…rivaling even Greg Toland and Stanley Cortez at times. I'm not a great fan of the usual 30's-40's "song" sequence in many non-musical films BUT this is an exception. Rita's singing numbers steal the show and her performance is very easy on the eyes, even if it isn't her actual voice. Cast if great with the exception of Glenn Ford, who is the weakest link. It would be interesting to see what Monty Clift would have done in that role instead of Ford. The sexual tension between Rita and Clift would have made it an even better film in my humble opinion. Nice, clean, beautiful transfer. The blacks are sharp, deep and dark. Minimum film damage evident. The extras are pretty good as usual with Criterion. Great little paper fold-out booklet with disc info and a poster of Rita on the back side. New interviews (Scorsese & others) , trailer and a "lost" dug up 1964 episode of a "celebrity" TV show I had no idea even existed focusing on Rita's career. I like Richard Schickel's past commentaries on other films but this one is somewhat spotty through the film. Not only in interesting content but also in length. I never timed it but it seemed like only 50% of the film has running commentary. If you are going to do it, then go all out…sorry Richard, not your best work in this one. ... show more
Reviewed in the United States on June 17, 2016 by Richard H. Strobel
Gilda Makes A Decent Entrance On Blu-ray
The Criterion Collection released this popular 1946 romantic film noir directed by Charles Vidor and starring Rita Hayworth, Glenn Ford, and George Macready on Blu-ray, looking superb in HD, a definite upgrade from the 2000 Columbia Classics DVD, including the theatrical trailer, minus the advertising photo gallery and Rita Hayworth Columbia's leading lady clip show featurette, but now having interviews with genre expert Eddie Muller and also directors Martin Scorsese and Baz Luhrmann. Contains a pullout poster of Rita Hayworth as Gilda with an essay on the other side by critic Sheila O'Malley. ... show more
Reviewed in the United States on July 25, 2021 by Quiet Knight
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