Produced, directed, starring, and co-written by Welles, The Lady from Shanghai was originally conceived as a modest thriller. Welles casting of his then-wife Rita Hayworth caused the budget to skyrocket. Columbia’s biggest star at the time, Hayworth was famous for her long, fiery red hair. Studio head Harry Cohn was convinced Welles ruined the film by cutting her hair short and dyeing it blonde. Furious, Cohn prohibited Welles any involvement in the final cut. Even so, the film has his stamp all over it.
A critical and financial disappointment in 1948, the reputation of The Lady from Shanghai has grown with time. While no Citizen Kane, Shanghai has the complex story and distinctive camera angles that make Welles’ style so unique.
Based on the novel If I Die Before I Wake by Sherwood King, the story Irish sailor Michael O’Hara (Welles) who meets Elsa Bannister in New York City’s Central Park. The wife of disabled celebrity defense attorney Arthur Bannister (Everett Sloane), Michael is immediately smitten. They flirt with each other and Michael ends up saving Elsa from a trio of would-be muggers. They share a sexually charged carriage ride, after which Elsa offers him a job aboard the Banister’s yacht. They are sailing the nest day from New York, bound for San Francisco via the Panama Canal. O’Hara accepts the job, but when he discovers a pistol in Elsa’s handbag, he begs off but is persuaded to go. Soon enough, Michael finds himself in big trouble, when Arthur and his business partner George Grisby (Glenn Anders) involve him in a murder plot. There’s clearly more going on, then Michael bargained for.
The Lady from Shanghai is certainly convoluted at times, but its camera angles, particularly the finale in the hall of mirrors, make it worthy of seeing. For me, seeing Rita Hayworth as a femme fatale with blonde, short hair is interesting. Given that Welles and Hayworth would divorce shortly after the completion of the film, one wonders if The Lady from Shanghai is a window into their crumbling marriage. Whatever the case, this is one of Rita Hayworth’s best performances on film (Of course, Gilda is unforgettable) and a must watch for fans. I can’t help but wonder what the reaction to the film would have been, had Orson Welles been able to release his cut. Even so, what we do have is film that deserves its place as a classic of the noir genre.
Presented in the 1.37:1 aspect ratio, Charles Lawton, Jr.’s cinematography has never looked better. Bold and crisp throughout, contrast is excellent. A minimal layer of grain provides a gritty texture and filmic appearance. Shot in 1947, the film looks like it could have been made last week. The source material is pristine. Exceptional grayscale enhances depth and offers greater detail. Some shots have slight softness, but it doesn’t affect the viewing experience. Whites pop and inky blacks make for a real noir feel. The excellent lighting showcases Rita Hayworth’s beauty. This is a wonderful transfer.
The DTS-HD Master Audio 2.0 mono track offers a clear and well-rounded presentation. The score by Heinz Roemheld is nothing special (Welles was reportedly not happy with it) but its given the necessary weight. The highs and lows with ease. A slight hiss is occasionally in evidence but is free of any age-related anomalies. Vocals are clean, clear and concise. Effects are efficient and full. Given the films age, this is an excellent audio presentation.
English SDH subtitles are included.
The following special features are available:
- NEW! Audio Commentary by Film Historian Imogen Sara Smith
- NEW! Audio Commentary by Novelist and Critic Tim Lucas
- Audio Commentary by Filmmaker Peter Bogdanovich
- A Conversation with Peter Bogdanovich: (HD, 20:52) 2000 Interview
- Three Comments by Film Noir Historian Eddie Muller (HD, 20:14)
- Theatrical Trailer
