Charles Vidor
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The plot is a Rubik's Cube of classic Lynchian archetypes culled from the director's entire oeuvre: There's a pair of Hollywood dames at the heart of the story, Betty (Watts), a new arrival to the L.A. basin, who is intent on making her mark in the film world; and the amnesiac Rita (Harring), who takes her name from a Gilda poster because she can't recall her real one.
A poster of Gilda is reflected from a bathroom mirror as the amnesiac adopts more than Hayworth's name.
There are two characters named Betty and Rita who the movie follows through mysterious plot loops, but by the end of the film we aren't even sure they're different characters, and Rita (an amnesiac who lifted the name from a "Gilda" poster) wonders if she's really Diane Selwyn, a name from a waitress' name tag.
The brunette, who quickly adopts the temporary name "Rita" (after Rita Hayworth on a Gilda poster), has lost her memory and seems to be in big trouble.
The latter stumbles down the hillside into Betty's lair, espies a Gilda poster (thus christening herself Ritaas in Rita Hayworth), and the two womenthe ever-optimistic Canadian and the sullenly scared damsel in distressform a fatalistic bond as they begin a feature length investigation attempting to fill in Rita's blank past.
The woman, who eventually calls herself Rita after seeing a poster on the wall for the great romantic film noir Gilda (1946), begs Betty to help her.
(Andy’s cell is bedecked with a poster of Hayworth in all her Gilda glory.)
One of the film's best scenes has the inmates watching Gilda (1946).
Not since Rita Hayworth vamped her way across the screen in Gilda has a woman so sexually dominated a movie as Sharon Stone does in Basic Instinct.
The first shot of Sydney has Rita Hayworth/ “Gilda” glamour to it.
The thing is, if I want to see a sick love triangle enacted, I’ll go for the real bar-nothing experience, like for instance, Gilda (1946). If I want to see a married couple torment each other, again, I’ll take the go-for-the-jugular version — Who’s Afraid of Virginia Woolf? (1966) is an excellent example. But these pitiful, wimpy feints and sneers and dry-humping on offer by the three main characters in Challengers is strictly for the teenage set.
Shades of Cornel Wild as a consumptive Chopin leaving blood on the piano keys in the venerable weepie A Song to Remember?
Add a dash of Cornel Wilde hawking blood onto the piano keys as Chopin in A Song to Remember (Charles Vidor, 1945) and we are in the presence of more fables about Romantic Love and Death than Fox Studios' press kit ever imagined.
About 10 minutes into “Hustlers,” Jennifer Lopez does a pole-dance routine that will go down in cinematic history as one of the most unforgettable character introductions since Rita Hayworth in “Gilda.”
One of them is Antonio Ricci (Lamberto Maggiorani), a slim, handsome man who will be hired to paste up posters advertising Rita Hayworth in "Gilda" all over the city--provided he has a bicycle.
The story begins as Antonio gets his first job in some time, but the job -- pasting up Hollywood movie posters (for Rita Hayworth in Gilda , creating a huge clash between fantasy and reality) -- requires a bicycle.