As Jacques Doniol-Valcroze has rightly observed, the average American moviegoer couldn’t forgive Welles for killing off Rita. Even worse, he let her die like a bitch on the floor of a hellish chamber while he walked out indifferently, eager to have things over and done with, without even obeying the elementary rule that the heroine should be paid the courtesy of dying in the arms of the rugged sailor. For some years, the misogyny of the American cinema has become a commonplace of intellectual criticism. Rita Hayworth was undoubtedly one of its first victims, and remains, through Welles’ genius, its most glorious martyr. - André Bazin, “Orson Welles: A Critical View”

As Jacques Doniol-Valcroze has rightly observed, the average American moviegoer couldn’t forgive Welles for killing off Rita. Even worse, he let her die like a bitch on the floor of a hellish chamber while he walked out indifferently, eager to have things over and done with, without even obeying the elementary rule that the heroine should be paid the courtesy of dying in the arms of the rugged sailor. For some years, the misogyny of the American cinema has become a commonplace of intellectual criticism. Rita Hayworth was undoubtedly one of its first victims, and remains, through Welles’ genius, its most glorious martyr. - André Bazin, “Orson Welles: A Critical View”

(Source: oldfilmsflicker)

Orson Welles, unlike Eisenstein and Dreyer, has never considered film as a plastic object but rather as a duration, something which unwinds like a ribbon; he has defined film, in fact, as “a ribbon of dreams.” - François Truffaut

Orson Welles, unlike Eisenstein and Dreyer, has never considered film as a plastic object but rather as a duration, something which unwinds like a ribbon; he has defined film, in fact, as “a ribbon of dreams.” - François Truffaut

(Source: oldfilmsflicker)

Reblogged from oldfilmsflicker with 42 notes / 06.05.12 / Permalink /
The Lady From Shangai, 1947

The Lady From Shangai, 1947

(Source: margaritacarmencansino)

Reblogged from latinamericana with 59 notes / 04.02.12 / Permalink /

(Source: memoirsofasamurai)

Reblogged from with 749 notes / 23.01.12 / Permalink /

(Source: hayworths)

Reblogged from bettyperske with 1,761 notes / 13.01.12 / Permalink /
Italian poster for The Lady From Shanghai

Italian poster for The Lady From Shanghai

oldfilmsflicker: The Lady From Shanghai

oldfilmsflicker:

The Lady From Shanghai

As Jacques Doniol-Valcroze has rightly observed, the average American moviegoer couldn’t forgive Welles for killing off Rita. Even worse, he let her die like a bitch on the floor of a hellish chamber while he walked out indifferently, eager to have things over and done with, without even obeying the elementary rule that the heroine should be paid the courtesy of dying in the arms of the rugged sailor. For some years, the misogyny of the American cinema has become a commonplace of intellectual criticism. Rita Hayworth was undoubtedly one of its first victims, and remains, through Welles’ genius, its most glorious martyr. - André Bazin, “Orson Welles: A Critical View”

As Jacques Doniol-Valcroze has rightly observed, the average American moviegoer couldn’t forgive Welles for killing off Rita. Even worse, he let her die like a bitch on the floor of a hellish chamber while he walked out indifferently, eager to have things over and done with, without even obeying the elementary rule that the heroine should be paid the courtesy of dying in the arms of the rugged sailor. For some years, the misogyny of the American cinema has become a commonplace of intellectual criticism. Rita Hayworth was undoubtedly one of its first victims, and remains, through Welles’ genius, its most glorious martyr. - André Bazin, “Orson Welles: A Critical View”

(Source: oldfilmsflicker)

Orson Welles, unlike Eisenstein and Dreyer, has never considered film as a plastic object but rather as a duration, something which unwinds like a ribbon; he has defined film, in fact, as “a ribbon of dreams.” - François Truffaut

Orson Welles, unlike Eisenstein and Dreyer, has never considered film as a plastic object but rather as a duration, something which unwinds like a ribbon; he has defined film, in fact, as “a ribbon of dreams.” - François Truffaut

(Source: oldfilmsflicker)

(Source: latinamericana)

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