吉尔达1946

老娘不care!

When they had the earthquake in San Francisco Back in nineteen-six They said that old Mother Nature Was up to her old tricks That's the story that went around But here's the real low-down Put the blame on Mame, boys Put the blame on Mame One night she started to shim and shake That brought on the Frisco quake So you can put the blame on Mame, boys Put the blame on Mame

They once had a shootin' up in the Klondike When they got Dan McGrew Folks were putting the blame on The lady known as Lou That's the story that went around But here's the real low-down Put the blame on Mame, boys Put the blame on Mame Mame did a dance called the hoochy-coo That's the thing that slew McGrew So you can put the blame on Mame, boys Put the blame on Mame When Mrs. O'Leary's cow

Kicked the lantern in Chicago town They say that started the fire That burned Chicago down That's the story that went around But here's the real low-down Put the blame on Mame, boys Put the blame on Mame Mame kissed a buyer from out of town That kiss burned Chicago down So you can put the blame on Mame, boys Put the blame on Mame

Remember the blizzard, back in Manhattan In eighteen-eighty-six They say that traffic was tied up And folks were in a fix That's the story that went around But here's the real low-down Put the blame on Mame, boys Put the blame on Mame Mame gave a chump such an ice-cold "No" For seven days they shovelled snow So you can put the blame on Mame, boys Put the blame on Mame

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)

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。

片子没有字幕，掺杂了很多西语和jargon所以只看了个大概剧情。 丽塔海华丝真是风情万种，穿着金光闪闪的外套约会，任性鲜活得很亮眼，大清早在casino弹吉他唱blame on meme，都是在B权力下的反抗。最后的手套舞美则美矣，也很绝望。 三个人一起出现的构图总是很有趣，B经常都是被阴影笼罩，而且G和J的距离经常比较近，B则比较高和远； 人物谈话时，前景是背对观众的，中景才是值得关注的部分，总是给人一种窥视感； 权力关系，B支配G和J, J模仿B去支配G, B对J而言是一个父亲的角色？ One has to make his own luck.所以一开始坐享其成的G和J不会真的过上安乐的生活。 G唱的歌也是意味深长。 目前在想的问题是G的superstitious-natural disaster 有什么意味，还有为什么设定在南美洲，最后G和J应该是回美国了吧