I told you... you know nothing about wickedness
A romantic drifter gets caught between a corrupt tycoon and his voluptuous wife.
A romantic drifter gets caught between a corrupt tycoon and his voluptuous wife.
Rita Hayworth Orson Welles Everett Sloane Glenn Anders Ted de Corsia Erskine Sanford Gus Schilling Lou Merrill Carl Frank Evelyn Ellis Harry Shannon William Alland Jessie Arnold Jack Baxley Steve Benton Wong Chung Eddie Coke Tom Coleman Al Eben Edythe Elliott John Elliott Charles Ferguson Joseph Granby Alvin Hammer Theresa Harris Maynard Holmes Tiny Jones Byron Kane Milton Kibbee Show All…
Die Lady von Shanghai, De dame uit Shanghai, Дамата от Шанхай, A Dama de Shangai, A Dama de Shanghai, A Dama de Xangai, Kvinden fra Shanghai, La dama de Shangai, Nainen Shanghaista, I kyria ap' ti Sangai, A sanghaji asszony, La signora di Shanghai, 상하이에서 온 여인, Dama z Szanghaju, Lady från Shanghai, Sanghayli Kadin
Kinda loved this? Funnier than I could have ever expected, Orson Welles’ Irish accent definitely wasn’t supposed to funny on purpose but it was enjoyable nonetheless. I think the discombobulating tone of it is very effective in creating the dreamy state it wants to put you in. A dream that turns more into a nightmare with every turn. What I’m saying is yeah I‘ll acknowledge it’s “messy” I think it’s controlled and captivating in the process.
Glenn Anders as Grigsby is nothing short of a great time, what a character. Yeah this rules!
as gorgeous, scandalous, and twisty as i'd hoped, much funnier than i ever could have expected. wild as hell. highlights: mirrors (duh), aquarium, hayworth hats, juror sneezing repeatedly for some reason, sweaty face close-ups, the second most harrowing shark monologue of all time delivered in one of the most irritating faux accents of all time.
the last 10 minutes redeemed this mess, but nothing can help me forget orson welles' weird irish accent that constantly disappears mid-sentence
Performances : 7.2/10
Story : 9.3/10
Production : 7.7/10
Overall : 8.06/10
The Lady from Shanghaiis easily the worst Orson Welles production that I've seen. The camera work doesn't blow me away...which isn't necessarily fair, as it really is fine, I'm just used to so much more from Welles. The lighting doesn't quite work for the genre and the score was out of place. Also I didn't really love his performance as "black irish". The accent just seemed so awkward and forced. However, besides Citizen Kane this film is probably Orson Welles' best story. It twists around more than most Noirs dare to do and it features some of the most thrilling closing moments I've personally ever seen put to…
Decades Project: 1/4 of the 40's
"Everybody is somebody's fool."
Everyone loves a good puzzle. The anticipation while you put it together, the satisfaction once it's complete; it's great. Mysteries are like puzzles (duh), except you have to watch someone else put the pieces together. You never know if they're hiding extra pieces up their sleeve or throwing out pieces that don't fit or making a different puzzle altogether.
So here's the deal with The Lady from Shanghai: it's definitely a puzzle (duh), but Welles puts the pieces together so many times and in so many different ways that by the end of it all you're not sure if you've got the final picture or if the edges of the…
"Personally, I don't like a girlfriend to have a husband." - Michael,
- Scavenger Hunt #52: boxd.it/3kIS0
Task 14. A film where the director is also a heavily featured actor. (15/31)
Love really will make you do some crazy things. One time I read a fiction book to impress a girl... A WHOLE BOOK!!!!
I've only seen three Orson Welles films and man this guy thinks he can do anything... and so far he is right. In The Lady from Shanghai, an Irish sailor (Welles) flirts with a pretty young woman before being asked to work on her husband's yacht. A noir tale of evil seduction, class conflict, deception, and double-crossing ensues and it is fucking awesome. Rita Hayworth and…
a powerful alchemical dream: a trickster ghost, ley line navigation, gnostic visions of hidden/forbidden places - "it's a bright, guilty world"
Blissfully nonsensical. A deconstruction of noir during its heyday. But you wouldn't expect anything less from the man who unofficially brought the genre's golden age to a close a decade later.
All those action films really did make my brain melt because The Lady Of Shanghai really made no sense at all.
This is especially telling in the last 10 minutes of the film where Orson Welles sums up in a voiceover what certain characters were really up to - and it actually makes the film even harder to understand! The thing is with Mr. Welles is that I'm not sure you could trust him as far as you could throw him because he did have previous form for being somewhat tricksy with his work.
So it's my contention that he deliberately made The Lady From Shanghai a dizzying experience that probably was not supposed to make all that much sense.…
There are nincompoops who will try to tell you The Lady from Shanghai is a minor work from Welles.
A minor work from Welles?
Is there even such a thing?
A few of these same ding-dongs might reluctantly agree that the film's visually brilliant - but will likely point to Welles' inaccurate brogue as an inexcusable flaw.
When has a good Irish accent ever been better than a bad one?
Tom Cruise in Far And Away
Sean Connery in The Untouchables
Brad Pitt in The Devil’s Own
Julia Roberts in Mary Reilly
How much more evidence do you need?
Another touchstone in Orson Welles' career of films that shouldn't have bombed, but did anyway, leading him down the path of being Orson Welles---this film is notable for being a genuinely bizarre noir, applying Welles' love of angles, his sense of the world as a ridiculous stage, his sideways close ups and sorrow at the emptiness of life to the overstuffed murder mystery plot of the source material--the end result being a movie that feels almost too fast, and too slow, and when you pile his bizarre Irish accent on top of it, it becomes genuinely disorienting---so I can understand people who don't really dig this, but I find it remarkably effective, both at the way it builds to an…
The more I learn about Orson Welles as part of this Film School Dropout challenge, the more I realize that the truth about him as a person is a complicated mix of what his fans and his critics have had to say about him over the years. Because yes, as academic apologists have asserted long after the fact, Welles was undoubtedly a genius whose undoctored work was years ahead of its time, unfairly chopped apart afterwards by studio hacks who didn't get what he was going for (see my review of The Magnificent Ambersons from the beginning of this week for more);…
Compared to Welles’ other work, this one fell flat. I could see it being much more effective back when it was released, but the slow pacing lessens the impact of the story twists (although the last few scenes were pretty well done). Not necessarily bad, but it hasn’t aged gracefully.
Welles adapta el film noir a su estilo personal en este clásico que cuenta con un estilo visual muy marcado por el director y con una trama algo compleja y confusa.
Existem tantos filmes nesse filme, a ironia é que nenhum chega a se concretizar. No início, lembra muito O Desprezo do Godard, um meta-comentário que simboliza a fadiga do autor perante às condições de se fazer cinema. A cena em que o Orson Welles faz uma menção ao Brasil e os tubarões se definhando pelo cheiro do próprio sangue, parece até uma premonição sobre o que viria a acontecer com o cinema: Executivos definhando uma indústria na busca obsessiva por controle. Esse contexto só se dá por que o filme inteiro a figura de Welles é sempre sugerida a como agir perante a pureza de Rita, uma encarnação quase literal de todo o ideal Hollywoodiano. Ver Welles se negar a…
La escena de los espejos es de lo mejor que vi en mi vida, y también tiene uno de los mejores finales de la historia.
I love this movie. Some professional critics don't care for it, but amateurs like me tend to like it a lot. Sure, nits can be picked. Welles's Irish accent is not good, and the plot may have a hole or two, and there is even a bit of sloppiness in some aspects of craftsmanship. The exuberance with which it was made more than makes up for any flaws. The cinematography in particular is simply astounding, and Rita Hayworth sure classes up the joint.
Watched and reviewed 2012
Esta ya va siendo mi comentario para todas als películas que estoy viendo de cine negro: no enteindo mucho que está pasando pero no se puede dejar de ver por la cinematografía y el clima logrado.
Hot damn! You know I love me a good noir. I saw the mirror scene in a film class a couple years back and figured I should watch the whole movie. I'm glad I did too.
The film is kinda messy in some parts and the Irish accent wasn't very good, but damn that dialogue was poetic. And the characters were all interesting none of them felt dull.
That aquarium scene and mirror scene were so visually entertaining. The courtroom scene also felt so alive, what with the juror sneezing and the old lady sticking her gum under the seat. Those little things make the background characters seem alive. 👤🖤🚬🔫
Whilst watching The Lady From Shanghai I couldnt tell if it was meant to be a comedy or not. Like why was there an Irish accent? And was that intentionally funny? And what's going on with Mr Grisby acting all weird? This film is confusing, messy, funny in the wrong place yet despite all this the funhouse scene is genuinely one of the best movie scenes ever filmed. Genuinely that scene alone makes this film gain 2 stars in my opinion.
The way they say “tarrrget practice” =11/10, stone-cold masterpiece
Que cena final foi essa, meu Deus.
A really good Orson Welles film the late forties. A really solid little film noir with all the great style and atmosphere you expect. There are a number of great scenes including the absolutely classic finale in a house of mirrors. Some of the acting is also a bit hammy, and I really wish Welles hadn’t bothered with the fake Irish accent. The story doesn’t make a whole lot of sense, but it is more coherent than some of its contemporaries like The Big Sleep. Reportedly there was nearly an hour cut out by the studio (Orson Welles was the Terry Gilliam of his day when it came to dealing with studios), so if that’s ever recovered this may end up even better than it currently is.
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