Classic film noirjust never gets old. With brooding voice-overs, cynical murders, high contract lighting, and drop-dead, beautiful dames, these stylized crime movies were the dominant art form duringthe classic period of Hollywood cinema. The genre wouldn’t have been so superior without the big names that made film noir a staple of the ’40s and ’50s. Casting was a major determining factor in a noir’s success, and for some actors, a life-changing decision. This was especially true for the cult classicGilda(1946), directed byCharles Vidor.
“You do hate me, don’t you, Johnny?” is a line synonymous with the majesticRita Hayworth,who plays Gilda in the picture. The story follows a washed up gambler who is taken under the wing of a powerful casino owner as his right-hand man only to find out his boss' wife is his tantalizing ex-girlfriend.Glenn Ford, one ofHollywood’s Golden Age’s biggest box-office draws, stars as Johnny Farrell, butGildawould have been a very different film ifhis role hadn’t been rejected bythegreatest male star of classic American cinema, Humphrey Bogart.
Gilda revolves around Johnny Farrell, a small-time gambler who is saved from a mugging by the enigmatic Ballin Mundson. Farrell becomes Mundson’s right-hand man, only to discover that Mundson’s new wife, Gilda, is his former lover. The film explores the love, betrayal, and revenge in Farrell and Gilda’s tumultuous relationship unfolds against the backdrop of Mundson’s shady casino operations in Buenos Aires.
Why Did Humphery Bogart Turn Down ‘Gilda’?
There aren’t many actors who can live up to the reputation ofHumphrey Bogart. His name was bigger than almost anyone after his breakout inJohn Huston’s iconic film noirThe Maltese Falconin 1941. He later would play nightclub owner Rick Blaine,the fourth-greatest hero of American cinema, alongsideIngrid BergmaninHollywood’s landmarkCasablanca(1942). The “tough-guy” actor was unstoppable, and his award-winning performances drew millions to the theaters. When Columbia Pictures came knocking on his door, however, Bogart turned his shoulder.
According to the bookGilda (BFI Film Classics)written byMelvyn Stokes, the story forGildawas much more explicit than its final version. Columbia submitted two treatments to the Production Code Administration in 1944 detailing a crime film about a “sexually-liberated” woman having a relationship with a “psychologically-tormented veteran.” The treatments were ultimately rejected for its indication of illicit sex and adultery, which went againstthe Hays Code. The project ofGildasprung to life when executive producerVirginia Van Upphopped onto the job with Rita Hayworth as the film’s north star.
During Hollywood’s Golden Era,Rita Hayworth was considered “The Love Goddess”of the ’40s and becamethe number one “pin-up girl” for GIs during World War II. BeforeGilda, she starred in numerous romantic comedies and musicals, solidifying herself as a prominent actress. Hayworth was a glamour queen, and her presence filled the screen like no one else could. After PCA’s feedback, the first script forGildacame about, and Van Upp sent a copy over to Humphrey Bogart. Reportedly,Bogart rejected to play Johnny Farrell as he felt the movie would be “woman’s picture,“perGilda (BFI Film Classics). The prime-time actor could sense Rita Hayworth’s magnetic presence, beauty, and charm would dominate the screen, leaving little attention for his own character.
Humphrey Bogart Investigates Debts, Disappearances, and Murder in This Classic Noir
Bogart was never more chilling, charismatic, and quotable than he was in this 1946 film.
Rita Hayworth Was Dazzling, but Her Singing Didn’t Make the Cut for ‘Gilda’
Little did “Bogie” know his refusal to star inGildawould help shape the heart of the story itself.ScreenwriterMarion Parsonnetand Van Upp became inspired by Humphrey Bogart’s view of the script andremodeled the story from a conventional film noir to a distinctive woman’s film unlike any other. Previously starring inThe Lady in Question, Glenn Ford was cast as Johnny Farrell, and the co-stars couldn’t have been a more perfect match.
Along with the casting conundrums,Gildafeatured a good number of singing scenes that required the titular character to perform at her highest. Rita Hayworth rarely used her actual singing voice and was dubbed over in her past works, like inYou Were Never Lovelier(1942) withFred AstaireandCover Girl(1944) withGene Kelly.Gildapresented her with the same fate.Columbia Pictures chiefHarry Cohnthought the actress never developed a voice worthy enoughto be considered for Gilda’s voice. The dubbing was all done byAnita Ellisin the movie. Although she was a talented lip singer, Rita Hayworth always wanted to sing herself, which never came to fruition.
In 1946,Gildawas released to positive critical acclaim, mostly highlighting Hayworth’s vibrant magnetism.Gildawas also one of the first movies to be screened at the first Cannes Film Festival that same year. The movie went on to be acult classic, establishing Rita Hayworth and Glenn Ford as major Hollywood stars. Despite its wondrous impact on cinema,Gildahad a negative effect on Hayworth. The actress resented starring in the film as it made her an unrealistic sex symbol. As Hayworth famously said,“Men go to bed with Gilda, but wake up with me.”
That being said, it’s easy to ponder the “what ifs” involving Humphrey Bogart starring as Johnny. WouldGildahave shifted its attention from Hayworth to Bogart? Perhaps if Bogie took on the lead, Rita Hayworth would have had a little less of the spotlight, which could have lessened the burden of her reputation she had to uphold off-screen. Knowing howgiant and captivating of an actor Bogart is, it wouldn’t be impossible to imagine. Humphrey Bogart’s decision to rejectGildawas a shocking turn of events as the movie became such a pivotal film for its genre and Hollywood history, but in the end, everyone was given a life-changing role that marked them as the best of the best.
